Issue 2 PDF - TWELV Magazine

2
RYAN MCGINLEY
JOHNNY WEIR
LUIGI MURENU
jean-paul gaultier
Mary Elizabeth
Winstead
ELLIE GOULDING
RACHAEL TAYLOR
ODEYA RUSH
NICOLA FORMICHETTI
Norman Reedus
James Van Der Beek
Anne V
www.TWELVMAG.COM
F/W 2012
$ 12.00
THE KILLS
HOT CHIP
KRISTIN DAVIS
RICHARD PHILLIPS
Irina Shayk
Transformation
2
RYAN MCGINLEY
JOHNNY WEIR
LUIGI MURENU
jean-paul gaultier
Mary Elizabeth
Winstead
ELLIE GOULDING
RACHAEL TAYLOR
ODEYA RUSH
NICOLA FORMICHETTI
Norman Reedus
James Van Der Beek
THE KILLS
HOT CHIP
KRISTIN DAVIS
RICHARD PHILLIPS
Anne V
www.TWELVMAG.COM
F/W 2012
$ 12.00
Irina Shayk
Transformation
2
RYAN MCGINLEY
LUIGI MURENU
jean-paul gaultier
Mary Elizabeth
Winstead
ELLIE GOULDING
RACHAEL TAYLOR
ODEYA RUSH
NICOLA FORMICHETTI
Norman Reedus
James Van Der Beek
THE KILLS
HOT CHIP
KRISTIN DAVIS
RICHARD PHILLIPS
www.TWELVMAG.COM
F/W 2012
$ 12.00
JOHNNY
WEIR
Transformation
M A G A Z I N E
Editor in Chief, Creative Director
HISSA IGARASHI
Managing Editor CHIKA FISSEL
Features Director TRISTAN D.E.BULTMAN
Fashion Editor SAYURI MURAKAMI
Paris Fashion Editor SOHEI YOSHIDA
Photo Director CHEK WU
Art Director, Graphic Design BOYOUN JUNG
Operating Director ASUKA YAMASHITA
Entertainment Editor KATHLEEN SHARPE
Feature Editor ABERNATHY M. MILLER
Music Editors AARON LINDENBERG, EMILY KIRKPATRICK
Art, Writing Editor CHARLOTTE O’DONNELL
Writing Editor KIMBERLY CORLISS
Senior Copy Editor DAVID G. IMBER
Features Assistant LUCIANA STICOTTI
Fashion Visual Coordinator KOSUKE AOKI
Public Relations Directors DAWN JOYCE, PATRIK LUNDBERG
Public Relations ANDREW GREGOR, DIANNE JACQUES, KATHERINE BROWN, MIKAEL LARSSON, RENATO AMADO, SAMANTHA SARASKY,
SOYINKA NGUENGA, TESSA FREEMAN
Japan Public Relations AKIKO MATSUZAKI, ANNA KOSHIZUKA, AYANA KAMISHIRO
Public Relations Assistants YO SATO, YOSHINO NAGAYA, SACHIKO YOSHIDA
Marketing Director SCOTT DENNEN
Marketing Assistants SAORI UENO, TOKIE TAHARA
Advertisement Sales JENNY ACOSTA, LINDSAY BECKEL
Advertisement Sales Assistants CAROLINA JIMENEZ, SAMANA NAQVI, WENDY MARTINEZ
Production,Casting Marbles & Marbles
Producers BRENDA ARMENDARIZ, LOUISE GRAHAM, SHERRY WANG
Graphic Design Assistants EMALIS ROBATEAU, DANI HARRIS, TAHIEL JIMENEZ
Web Designer SO KONDO (MONO COMPLEX)
Web Development TAKEHIKO YAMADA (MONO COMPLEX)
Cinematographer MARIA CABRA
Video Editor GIL SUB CHOI
Director of Digital Operations DANUT J.SPATARU
Contributing Photographers ADRIAN NINA, ALI KAVOUSSI, CAMERON KRONE, CHAMA, CHEK WU, DAVID SCHULZE,
DAWIDH ORLANDO, JACOB SADRAK, JASON KIM, JENS LANGKJAER, JEROME CORPUZ, MACKENZIE DUNCAN, MALIA JAMES, MARIA KARAS,
MICHAEL FLORES, REBECCA MILLER, RONY SHRAM, SHOJI VAN KUZUMI, SILJA MAGG, THOMAS COOKSEY,
(The streeters) HAYATO, NAOKO TAKAGI, OMI TANAKA, TAKAHIRO SUGA, WATARU SHIMOSATO, ZOEY GROSSMAN
Contributing Stylist CHRISTINE DE LASSUS, DIANNA LUNT, ELLIE LINES, LEILA BABOI,
HOLLY SUAN GRAY, SAM RANGER, ZOE COSTELLO
Contributing Writers AARON LINDENBERG, ABERNATHY M. MILLER, ANNE SZUSTEK, CARRIE LOEWENTHAL-MASSEY,
CHARLOTTE O’DONNELL, EMILY KIRKPATRICK, ERIC WAROLL, FRANK EXPÔSITO, GARY CANINO, HILLARY DEVER, HUNT
ETHRIDGE, KATHERINE WILSON, KATHLEEN SHARPE, KIMBERLY CORLISS,
LISA Z. MORGAN, NAYLA AL NAIMI, RAWDAH AL NAIMI, WENDY DOUGLAS
Fashion Interns CHRISTIAN KOU, DANIELLE GRECO, DAPHNE BONNEAU, DEREK NGUYEN, GEMELIS NUNEZ, GIULIO BERTOCCI,
MAKI MIYOSHI, MARINA FUJIMOTO, MAYUKO FURUUCHI, MEI NOGUCHI, MENGQI ZHOU, MICHAEL COSTA, MITSUO
KAWAMURA, NORIKO FUKUSHIMA, RITA CHIEN, SONYA WRIGHT, TAKASHI SUZUKI, TAKUYA YAMASAKI,
TOMOKO SUZUKI, YOSHIHIRO HIDAKA, YU UEDA
Photography CHAMA.
Styling HISSA IGARASHI.
Hair SHINGO SHIBATA.
Makeup AKIKO SAKAMOTO
@ See Management Using M.A.C cosmetics.
Dress BOTTEGA VENETA.
Earrings H.STERN.
Publisher MARBLES & MARBLES International Inc.
Special Thanks EMI SUGINO, ALBRIGHT FASHION LIBRARY, ALEX TAKASHIMA, ANDREA MESSIER,COREY MAYWALT, HUDSON STUDIOS,
INDUSTRIAL COLOR, INGRID MCAULIFFE, JUDY C YANG, KAI IWAMOTO, KAZU NAKA, MILK STUDIOS, NEO STUDIOS, NORINA KHAN,
PATRICIA BLACK, ROOT STUDIOS, SAORI SENDA, SIREN STUDIOS, SHELL ROYSTER, SPLASHLIGHT,
YOKO ODO, YUI KORETOMO, YUJI OKUDA, YUKI TANAKA
Photography CHEK WU
Styling HISSA IGARASHI
Hair ELOISE CHEUNG @ Walter Schupfer
Management. Makeup WILLIAM MURPHY
Model NATALIA O @ VNY. Bodysuit KIKI
DE MONTPARNASSE. Location ROOT
Drive In Studios.
WWW.TWELVMAG.COM
[email protected]
247 W 38th Street,#612, New York,NY, 10018. (646) 6929872
A
LETTER
FROM
THE EDITOR
Our theme for our second issue is transformation
— the idea that through growth and change we
can stretch the boundaries of who we are, what
we know, and re-invent ourselves anew in the
ever-changing space of fashion and art. As Saskia
De Brauw told us, “Life is not about reaching
one’s destination point, but constantly arriving
and departing.” This is the essence of transformation and in this issue we celebrate that spirit
and challenge ourselves to seek out new influences and harmoniously blend them with the
high fashion that inspires us.
One of the primary drivers behind the creation
of TWELV is our desire to make meaningful
transformations in the world by donating twelve
percent of our proceeds to charities and communities in need. In addition to our focus on
humanitarian aid and our aspiration to one day
build a school in Malawi, we promote causes and
organizations in which we believe, such as WFP
and our new partners WFP USA, by featuring
them in the magazine and by sharing them with
the fashion world.
Visually, many of the transformations here
reference pop culture through a creative process that is both destructive and interpretive. Like the transformational process that
inspires Luigi Murenu, creation sometimes
must involve decomposition and reconstruction. We enjoy reinterpreting images and concepts that may have been taken for granted
or forgotten. We force ourselves to synthesize
these with myriad different influences from
film, music, and art. By doing so, we stretch
ideas about fashion in fun and intriguing
ways that broadened and deepened them.
Cover:
Photography CHAMA & CHEK WU.
Styling HISSA IGARASHI.
Hair SHLOMI MOR @ Atelier.
Makeup ASAMI TAGUCHI @ L’Atelier.
Models ANNE VYALITSYNA, IRINA SHAYK @ Women Management.
Production, casting MARBLES & MARBLES : BRENDA ARMENDARIZ.
(Anne V wears a leopard top)
Anne V: Earrings, ring CARTIER.Top ROBERTO CAVALLI.
Irina: Jacket Vintage ALEXANDER MCQUEEN
@ ALBRIGHT FASHION LIBRARY.
At its heart, TWELV believes in and embodies
transformation. Like Nicola Formichetti told us,
“Fashion is a constant experimentation.”
(Irina wears a long dress)
Irina: Earrings, ring CARTIER. Dress, shoes VIKTOR & ROLF.
Anne V: Jacket Vintage JEAN PAUL GAULTIER.
-Hissa Igarashi Editor in Chief
ISSUE 2
CONTENTS
6
RYAN MCGINLEY
Capturing the Reverie
14
LUIGI MURENU
Beauty God
24
NICK CAVE
Suits That Sing
28
RICHARD PHILLIPS
Capturing the Essence
132
TRANSFORMERS
70
AFTER & BEFORE
148
RACHAEL TAYLOR
A “Transformer” Transformed
72
MUGLER
76
NORMAN REEDUS
Zombie Therapy
152
ALEXANDRA ROACH
Alexandra Rising
154
TINY DANCER
78
LOUIS VUITTON
Caught in Kasuma Tentacles
156
USED TO LOVE HER
79
A WOMAN IS A WOMAN
168
MY STEPMOM IS AN ALIEN
88
BEHIND THE SCENES
170
NIKITA
42
ICE QUEEN
90
THE KILLS
Kills Immortal
176
JOHNNY WEIR
Fire and Ice
44
RUTH HOGBEN
Desire’s Waltz
92
HOT CHIP
“I (We Still) Feel Better”
180
ODEYA RUSH
Rushing To Stardom
48
ELLIE GOULDING
Pop’s Brightest Light
94
MOTIVE
Frames From the Edge
182
JAMES VAN DER BEEK
Heartthrob Reincarnated
101
54
98
MNDR
184
X WOMAN
57
SASKIA DE BRAUW
Model Citizen
99
EAGLES OF DEATH METAL
Jesse Hughes
196
TWELV BOOKS
58
STEVEN KOLB
CFDA CEO: Fashion’s Main Act
100
CONAN
34
OLAF BREUNING
Queries of a Quirky Mind
38
ELMGREEN & DRAGSET
Rocking the Art World
59
NEAL HAMIL & WAYNE STERLING
Mixing Up the Modeling Industry
60
KRISTIN DAVIS
From Sex and the City to Oxfam Africa
61
MARTIN IZQUIERDO
Divine Talent Gives Them Wings
4
62
JEAN-PAUL GAULTIER
104
MARY ELIZABETH WINSTEAD
Princess Mononoke
112
THE VIRGIN SUICIDES
114
BOYS DON’T CRY
130
NEXT TOP MODELS
New York College Girls
5
197
RIanne ten Haken
198
TWELV MUSIC
199
SUCHAPORN
200
THE STREETERS
∞
TWELV
THE TRANSFORMATION ISSUE
Ryan McGinley
McGinley ‘subjects’ are sought out and discovered all over the
world. He literally has a casting director who looks for individuals who engender a quality of beauty or attraction which lies
beyond established confines. A hypnotic beauty, which communicates to him in such a way that he (and his camera) fall in
love with the image presence before him. Although generally
of a creative disposition, McGinley’s subjects reveal or present
something to him but not necessarily in the way that a ‘model’
would comply or perform before the camera. He is preoccupied with documenting the natural, and unexpected, qualities
of an individual, their presence, character and what they may
or may not reveal under unusual, and often bizarre, circumstances. He speaks at length about this in his new book “Whistle for the Wind”, in the conversation with Gus Van Sant. The
models he prefers to work with are free of the inbuilt skills
necessary to perceive how they appear, both in front of and
behind the lens, generating a more candid or sincere response,
for they engaged in being themselves rather than projecting
a temporal character as part of their career; they are innocent
of the considerations of how the shift of a limb or an openmouthed pout will create a particular shape or form.
McGinley
locates
the
singular
image,
which
signifies
the perfect
moment.
In a sense, McGinley is brilliantly adept at documenting optimal experience, captured as flow: the point when one is entirely motivated, within the moment, seamlessly connected and
yet unconscious of the self. When the dimensions of psychological challenge converge with physical daring. McGinley defines a moment when his subjects reach a ‘state of exhaustive
bliss,’ and as inhibitions disintegrate, we witness a liberated
pleasure where emotional guards begin to tumble and fall.
Jack (Blue Mass), 2009, c-print, 72 x 48 inches,
Courtesy of the Artist and Team Gallery, New York
Capturing the Reverie
Freedom is a possession of inestimable value. -Cicero
by Lisa Z. Morgan
Standing before the images created by Ryan McGinley, one becomes entranced
by the irresistible visions of freedom and joyous irreverence. As we gaze upon
these captured glimpses of nubile and ecstatic lives, the pace and perception of
our own reality becomes, perhaps equally momentarily, transformed. It is as
though we are inhabiting a dream, reliving a memory or visually absorbing a
wish. There is ample room for us to imbue the imagery with our own imagination and narrative, and our mind wanderings encourage us to indulge in the
ebullience of youth, whether that is the youth we have lived, recognize or are yet
to comprehend. But regardless of our own position in time, the experience of
witnessing a life in the present is persuasively clear.
6
McGinley’s work appears to thrive in this specific instant of
dissolution, and his work and process could be said to inhabit
a liminal space. To put it simply, the enchantment of his work
lies in the fusion and merging of opposites. His work seems
to become a modifier between that which is known and that
which is unknown, and he walks and captures a tenuous line
between polarities. Control and surrender co-exist. Freedom
and direction thoroughly entwine. Subjects collide and reveal
alienation and involvement. Lightness and weight convey a
sense of the mythical but remain anchored in the everyday.
These recurrent and simultaneous convergences between
contradictory opposites depict a seductively tacit dream world.
When McGinley photographed Kate Moss she became one of
the rare exceptions to this modus. In 2007, he was presented
with the opportunity to photograph “somebody” for W Magazine, and the prospect of working with the superstar model
was too wonderful to miss. In the book “Interviews 2” by Gerald Matt, McGinley speaks about how he had been attracted
to Moss since he first saw her in the CK One advertisements
during his teenage years. Hers was a unique and atypical
beauty: androgynous and yet with a girl-next-door quality. He
was incredibly drawn by her rare beauty; it inspired him, and
subsequently many of the girls he has worked with embody
or characterize some of these original qualities. Naturally she
was at the top of his list of “somebody’s” that he would like
to work with. He goes on to speak of her working harder than
any other model he has collaborated with and describes how
she was comprehensively in model mode, with every move
being made “visible,” with every position and angle being understood. But he also had to work equally hard in encouraging
her to let go of her accomplished skills because his focus and
intent was to photograph Kate Moss as herself.
Covert or otherwise, we freely gravitate toward seduction and our
visual pleasure button is always ready to be pressed. But,
more often than not, the eye’s desire is stimulated yet we
stand, zentirely to be taken into a visual world. McGinley’s
work speaks in persuasive tones with a straightforward nakedness that we can touch and access because the bodies that we see are
sincerely stated. They are bruised, sweaty, scratched, hairy,
trembling and blemished. The uneven charms of unadulterated markings become the aesthetic pleasure as fantasy and reality
mingle and merge.
7
[McGinley’s subjects] are bruised, sweaty,
scratched, hairy, trembling and blemished.
The uneven charms of unadulterated
markings become the aesthetic pleasure as
fantasy and reality mingle and merge.
Covert
or otherwise,
we freely gravitate
toward seduction
and our visual
pleasure button
is always ready
to be
pressed.
McGinley’s editorial-based work began in 2004 with
the stories and settings he created for the New York
Times, and evolved further his concept of contingency
and the provocation of chance. Models, musicians and
actresses tend to be very accomplished at communicating themselves visually. They are adept at being in front
of the camera’s lens and before the photographer’s eye,
and this knowledge is generally a positive attribute to
work with. However, when the motive behind the creativity is connected to revealing the spontaneous, unfettered elements of a character, a process needs to be
developed which abates defences and encourages guards
to be brought down. Sienna Miller was photographed
with a flock of budgerigars, M.I.A was photographed on a
high rooftop swing somewhere in NYC, Lady GaGa engulfed by nature. Introducing the component of surprise
disorientates and opens the perspective, inasmuch as it
becomes difficult to focus on how to appear before the
lens. This ability to draw out the unforeseen in the ‘seen’
is gaining McGinley a substantial following through his
editorial work.
But generally, the aspect of working with a model’s consummate professionalism seems less conducive to the
happenings that McGinley generates and captures, which
thrive where the moment edges into the weird and wonderful and where an unconscious period of time renders
an instant in time specific. McGinley is more involved
with documenting the natural, and unexpected, qualities
of an individual, their presence, character and what they
may, or may not, reveal under unusual and often bizarre
circumstances. His approach appears to involve a strong
element of exaggeration, combined with the fact he takes
thousands of photographs, thus generating an overspill in
both output and possibility. Finally, through the abundance of material available comes the ruthless and rigorous act of editing down, defining, until McGinley locates
the singular image, which signifies the perfect moment.
This tiny pocket of time appears as a fragment of a larger
narrative, rendering it impossible for the viewer to remain tethered to one exacting still. Scope is ample and
plentiful to embellish and develop a scenario that moves
beyond the confines of the frame. It is difficult, therefore,
not to become caught up in the belief that these images
are documents of ‘real’ lives rather than depictions of a
fashioned fantasy. This may be, in part, due to McGinley’s early works being fly-on-the-wall documentaries of
the lives he and his friends were living in New York City.
Or it could simply be due to the fact that we are met with
the pervading visions of young men and women as recognizable, animate beings.
Diana Vreeland made the comment “without emotion
there is no beauty”. This recognition that beauty is more
than a surface of idealized perfection is what McGinley
has utterly tapped into. As he captures an unconscious
period of time and renders an instant in time specific, the
moment edges into the weird and wonderful and he pronounces beauty, embodied, as a vital and vibrant energy.∞
Peacock (Rose Quartz), 2012, c-print, 45 x 30 inches, Courtesy of the Artist and Team Gallery, New York
Spider Monkey (Soft Pink), 2012, c-print, 14 x 9.3 inches,
Courtesy of the Artist and Team Gallery, New York
8
Brandee (Midnight Flight), 2011, c-print, 72 x 110 inches, Courtesy of the Artist and Team Gallery, New York
You and My Friends 1, 2012, 55 c-prints, 20 x 20 inches each, 119 x 263 inches overall, Courtesy of the Artist and Team Gallery, New York
12
Luigi
Murenu
BEAUTY
GOD
For Luigi Murenu, or as he likes to be called, just “Luigi”, a life of beauty was
pure fate. The Italian hair stylist is the guru of choice for all the best: Steven
Meisel, Craig McDean, Mert Alas and Marcus Piggott, Inez van Lamsweerde
and Vinoodh Matadin, Steven Klein—and the list goes on. Now that he’s cemented his place at the top of his trade, Luigi shows no sign of slowing down. Spinning
out hair perfection for years and years, Luigi credits his inimitable style, a deep
respect for his craft, and a stubborn work ethic for taking him from the beginnings
of his career in the City of Lights to the back stages of the world’s most dazzling
fashion shows and desired labels.
Now Luigi is emerging from behind the swivel chair as he
transforms from hairdresser to multi-faceted conceptualist. The indisputable god of hair looks to generations old
and new of artists and collaborators to manifest his vision, leaving a trail of flawless coifs in his wake. Whether
he’s designing hair for the top Paris shows or for a stunning
editorial lensed by frequent collaborators Daniele Duella
and Iango Henzi, Luigi can’t help but prove himself time
and time again, and leave clients madly in love with his
locks. The always charismatic, ever-charming hair maestro sat down with the TWELV team over espresso and
macaroons in his downtown Manhattan apartment, to
discuss legendary collaborations with the most innovative
minds in fashion, his advice for emerging stylists, and how
good hair comes only from the combination of très chic
and a touch of faux pas.
To get familiar with the evolution of this master from
young Italian boy to hair aficionado, we start by tracing
the golden strand of Luigi’s life back to its roots. Luigi’s
creative spirit quickly outgrew the academic confines of
a traditional upbringing, and his destiny as hair stylist
extraordinaire seemed to be, as he says, “written in the
stars.” He made his way to the fashion epicenter of Paris
at the age of 18, and then it was off to London, where he
quickly found work and embarked on his meteoric rise.
After a once in a lifetime opportunity to style the pop
icon Madonna for an appearance in London’s Top of the
Pops, and being discovered by legendary photographer
Richard Avedon, Luigi was on the fast track to the top,
working with every major player in the industry. To this
day, Luigi brings the same type of intensity, inspiration,
and brilliance to every job.
Soon, Luigi’s portfolio would be overflowing with enviable images. The artist, after working so hard for so many
years, finally felt confident in his career, savoring, at last,
that distinguishable “I’ve arrived” moment.
With the strength of Samson, Luigi Murenu brings his unstoppable creative
drive to the locks of runways, fashion houses and editorials ‘round the world.
His light is one that will shine for generations to come.
by Kimberly Corliss and Charlotte O’Donnell
He’s a stylist known for his keen knack for total transformation which, coupled with an innate style and understanding of beauty, motivates him to continue to push the
bounds of hair, beauty and fashion. His personal evolution is ongoing, and his ability to transform women keeps
him in high demand. “I can’t help but transform myself,
and I have the same instinct in my work—if someone is
known to have dark hair, I like to take out the blonde
wig.” Luigi never fails to bring the spirit of metamorphosis
to his work. In one particular piece with Steven Klein, he
helped transform illustrious model Amber Valetta: “We
transformed her from 20 years old, to 30, 40, and 50, until
she became 120 years old.” Another favorite transformation took Madonna “from a blond fallen angel look in
“Hair is
an
attitude.”
‘Ray of Light,’ to a geisha, all in the span of a week.” But,
when asked about his great success in the industry, Luigi
stays humble. His key to success, he simply answers, is
“respect.”“Hairstyling is a very delicate job. You have to
understand the direction of the project and fulfill everyone’s expectations much as possible, while striking a balance with your own style. It’s very important to maintain
respect between collaborators. When working with hair,
you have to take into account the needs of makeup artists, photographers, clients and everybody else, to make
the shot something that’s very special.” According to Luigi, “style manifests itself when people have knowledge
of themselves, and know how to express their personalities in a refreshing, inspiring, eccentric or rather simple
way. We use style to show other people who we are, so
they can understand us, and so we might be appreciated.
We live in a world of appreciation.” In that spirit, Luigi
seizes every moment, every inspiration, every new idea,
and channels it directly into the project at hand.
He is a man who is driven by passion and who doles it out
in everything he does.
Every time he works with new clients, he devotes his entire being, at that moment, to them. “I’m really dedicating my life to them,” he explains, “I am very disciplined.
I have weaker moments—I am a human being, and we
are all vulnerable—but this does not mean that I ever deliver less.” His passion lies in exchanging creative ideas
with collaborators, and working with established clients,
along with new talent. When he’s not collaborating withsome of the greatest minds of fashion, which brings him
great satisfaction, one of Luigi’s favorite ways to find new
inspiration is chatting with fresh faces in art and fashion;
Photo by Daniele Duella and Iango Henzi
15
Photo Daniele Duella and Iango Henzi
“It’s the intricate
relationship
between what is
considered good
taste and bad
taste that makes
great hair.”
“I like to sit down with young people and discuss new and
creative concepts,” he said. Not content to transform his clients alone, Luigi constantly seeks out collaborators for new
projects, “I’m extending myself as a conceptualist. I’m still
and always will be a hairdresser, but I’m also constantly growing. I continue to work with incredible people who challenge
me and bring out another side of me.” From spending a short
time with Luigi, it is evident that hairdressing is not a solitary
profession, and he couldn’t be happier to open up the possibilities to a broader range of collaborations.
One of Luigi’s newest creative collaborations features the incredible photographic duo Daniele Duella and Iango Henzi.
“I met the two for the first time in Paris after seeing their incredible images of skulls and butterflies, and I thought, these
are young people doing new work that I was unaware of, and
it’s so amazing and interesting.” Luigi’s inspiration from Danielle and Iango came to fruition with the May 2012 Japanese
Vogue cover, and the 2012 darkly glamorous editorial shoot,
“Melancholy was the Mood,” featuring model Natasha Poly.
For Luigi, whose signature style of elegance and classic
beauty leaves no hair out of place, he not only finds inspiration in the old and the new, but he also looks towards movies, theater, ballet, and Japanese culture for great inspiration.
Japanese-inspired chignons for Zac Posen, ballerina buns for
a Chloé show, and a “Metropolis”-inspired aesthetic for Max
Mara demonstrate just how great a role these alternative passions play in the creative life of Luigi Murenu. That the look
of the hair for the latest Spring 2013 Zac Posen show was inspired by “polished wood” demonstrates the enormous scope
of his inspiration.
In all his work, Luigi remains extremely selective and proactive, lending his genius to the best of the best and A-list
clientele. For New York Fashion Week, Luigi styles only Zac
Posen. In Europe, the list is more extensive but equally discerning, including labels such as Gucci, Max Mara, No. 21,
Ports, Ferragamo, Pucci, Givenchy, Rick Owens and Viktor
and Rolf. His editorial clients are also befittingly blue-chip,
with his work regularly finding its home in the pages of i-D,
W, American Vogue, Japanese Vogue, and Interview. His
natural eye for style has earned him the trust of some of the
most influential designers in the world. Luigi counts Frida
Giannini of Gucci and Ricardo Tisci of Givenchy among his
close friends and regular collaborators.
If not for hairdressing, he would have opted for another artistic avenue, like photography or art direction. But, even if Luigi had taken another direction in his creative career, it’s safe
to say that his calling would always lead him back to fashion.
He explains the current state of fashion, and how its malleable quality excites him and gets his creative wheels whirring.
Photo Daniele Duella and Iango Henzi
“There are no rules today in fashion. You can create, define, manage, and star in any project that
you can dream up. Anything is possible; there are
no limits. The fashion world’s character is determined by the dreams of those who are impassioned
by it. At some point, you don’t want to sit down and
wait—you want to transform your ideas into reality, create new projects—right now. I love to support new magazines because they encourage this
impulse to change and push the fashion industry
forward. I love to push myself to think differently,
create differently, and I like the challenge of this utter versatility.”loses touch of his instinct, and if his
works are not infused with refined style, it is an art
that can easily become common”
Photo Daniele Duella and Iango Henzi.
for Interview Russia/ September 2012
If fashion is an ever-changing space whose limits are defined
by those who explore it, then hair, too, is equally versatile.
In fact, just as much as you can sometimes read a person’s
chacter through her clothes, you can also get a glimpse at who
someone is through her hair. Luigi is a man who has an automatic ability to break down a person’s personality through
her hair:
“I can tell a little bit about a person’s personality by the way she looks, by the way she moves
across a room, by the way that I see her hair, by
the quality of her hair. There are women who
like to make their hair bigger than a house, and
there are many other women who like to be very
simple; they’ll wear just a ponytail and they
won’t want to pay much attention to their hair.”
Much more than an aesthetic element in a person’s appearance, “hair is an attitude.”
But more complex is Luigi’s conception of beauty in hairdressing. Like freckles on porcelain skin, “the chic aspect of a hair
style comes from combining something beautiful with a touch
of ‘wrong’ or bad taste. You can just make beautiful hair, like
you’d see in a beauty pageant, but it falls flat—you must add
a certain complexity that sometimes comes from perceived
imperfection. It’s the intricate relationship between what is
considered good taste and bad taste that makes great hair.”
“I take inspiration from
people like
Andy WaRhol
who create
their own
worlds, their
own families,
and their
own dreams.”
Beyond the subtle mix of good and bad taste, what else characterizes good hair, for a hair deity like Luigi? From his experience with hairstyling models in a multitude of different
shoots, Luigi understands “hair that’s good in pictures is hair
that really respects the mood, the look, and the aesthetic of
the picture—it’s whatever fits the model, the story, the make
up, the clothes, the lighting, and everything. For me, that’s
the best hair.” As with all great icons of the fashion world, the
heart of a successful project lies in the team.
Though indisputably iconic, Luigi maintains a disarmingly
humble attitude, constantly reminding himself, “I am so
lucky to have what I have. My hope is that we do not forget
to be appreciative of each other, and that we avoid becoming
jaded.” As for advice for new stylists, Luigi cautions against
letting hairdressing become an uninspired job. Said Luigi,
“I think that if a stylist loses touch of his instinct, and if his
works are not infused with refined style, it is an art that can
easily become common”
If Luigi is aware that hairstyling can sometimes feel uninspired, it isn’t from experience. His looks pop like his personality, and every strand his fingers graze seems to turn magical. Though his hairstyles continue to stun, and though he
has more than enough reason to take a sabbatical from the
intense study of hair he undertakes daily, Luigi spends little
time resting on his laurels. In fashion, hair, and style, it’s just
not about that, for him. Innovation is the life force that drives
fashion forward, and in style, “it’s about remaking things; it’s
about the new generation. It’s about re-plastering the old façade of fashion and building a brand new one.” For this ultimate innovator, the sky’s the limit—if you can make a hair
extension that long.∞
Photo Daniele Duella and Iango Henzi
Photo Daniele Duella and Iango Henzi
Photo Daniele Duella and Iango Henzi
SUITS THAT SING
by Charlotte O’Donnell
Nick Cave’s eye popping, wearable sculptures, or as he simply calls them “soundsuits,” are simultaneously referential and completely otherworldly. Cave, an Alvin Ailey-trained dancer,
enjoys making full use of his sculptures’ wearability with captivating dance performances.
Dancers don the sculptures as costumes, and with ensemble happenings, feature movements
that elicit the suits’ namesake sound. Cave maintains, however, that wearability in his work
is totally optional. The music of the soundsuit is of the visually aesthetic variety, audible even
on a printed page. Cave draws on global traditions of ritualistic dance and dress to assemble
and conduct his orchestra. While working in Lille, France, the artist took some time out of his
day to answer a few of our questions about the origins of the Nick Cave sound.
When did you make your first soundsuit? Were you doing What else informs and inspires your work— what
other types of art before then?
inspired your fur suits in particular?
I made my first soundsuit in ‘92 in response to the Rodney
King incident and the L.A. riots. I was also working in
sculpture, under the same sculptural influences, with
found objects.
My world that I live in and how I move about in this
world is what inspires the work, along with my encounters.
I live all over this planet and that is what inspires me—
any- and everything. The fur soundsuits are Sasquatch,
meets a bishop, meets Egungun.
What is the role of wearability in your work? How do you
think soundsuits transform the wearer?
What are you working on now?
Wearability in my work is optional, but as you encounter the
wearability, you become familiar with the characteristics
of the sculpture, while being challenged with its nuances.
The work transforms the wearer as it erases one’s gender,
race and class, forcing the wearer to transition into something
other, a hybrid of sorts.
Soundsuit, 2009, Photo by
James Prinz Photography,
Courtesy of the artist and Jack
Shainman Gallery, New York
I am currently working on a new solo show that opens
October 6th in Lille, France, which will feature my first
soundsuit inflatable, and I just finished eight short films
that will also premiere here in Lille, where I am now.
The short films are about the sound the soundsuits
orchestrate. In my studio we’re starting a new body of
work for a solo show that opens at The Denver Art Museum
Much of your work references African ritual. What other in June of 2013. There I will also premiere a new series
traditions influence your work?
called “WITCHDOCTORS”.
Yes, my work is inspired by African garb but also Haitian,
Trinidadian, Asian, Latin American, Moroccan, Carnival What’s your favorite part about your job— what keeps
and Mardi Gras, to name a few.
you doing it?
My favorite part of my job is that I am following my
destiny. Knowing that, I will make work that matters.∞
25
Left to right:
Soundsuit, 2009, Soundsuit, 2008, Soundsuit, 2005, Soundsuit, 2008. All photos by James Prinz Photography,
Courtesy of the artist and Jack
Shainman Gallery, New York
R
RICHARD
PHILLIPS
Capturing the Essence
An Artist and Filmmaker: Master of the Moment and the Portrait
by Frank Expósito
28
© Richard Phillips. Courtesy Gagosian Galler
They stare off in the distance, unsure of what they see. The blonde, Lindsay Lohan, is among
waves of pale blue. The brunette, Sasha Grey, pulls up to shapely, well-poured concrete. The
backgrounds differ but the moods are the same surrounding these two beauties with well-known
contexts. Their respective images are replicated and dispersed by Richard Phillips’ paintings
that copy what the paparazzi would see, he being a voyeur as well as active director. “First
Point”, the painter’s first film, refers not to the surf breaks that thrust bodies forward onto the
beach, but to the possibilities of alternating referents—the onlooker or the stalker, a painting or
a film—that succeed from the preliminary. Phillips films what he’s derived from the storyboard
idea, aware that the freeze frame will turn later into painting. Though they’re made after the
movie, one sees these first as painted faces to the projects, resolving their luscious sinewy in
washed out movements on camera. The inverse is quite probable too, narrative consolidated
into object. From day to night, Aryan to grey, the artist’s result is a picture no matter what its
heritage. A few eves before his latest Gagosian solo show, Richard Phillips speaks about the
celebrity palindromes we’ve come to know.
Is imitation an important facet of your filmic and painted work?
Rather than taking images from existing media, which I’ve done
in the past, like in the previous “Most Wanted” series, for instance, all of [the] painted images were from the film. They’re, in
a sense, paintings of the placeholders that were used to indicate
the film in various media platforms, whether that was in print or
in web formats.
Like reproduced, painted advertisements?
In my work before, the pattern or images were selected from a
variety of media. “Most Wanted” were images of a select group
of young actors taken from step-and-repeat, red carpet imagery,
placed in front of fashion brands. Essentially, the sponsorship and
the endorsement that celebrities confer were elliptically welded
into a single image so that it was a closed system. I saw that as an
endpoint to the types of appropriation painting I had done in the
past.
How is painting from your own film different from painting others’
stock imagery?
When the opportunity came up to work with Lindsey Lohan and
Sasha Grey on the idea of a film, it became interesting for me to
work using film itself as a method to generate imagery. Even during the storyboarding for the films and during my conversations
with the actors, in the back of my mind, the intention that they
would eventually become still images from these motion portraits existed. It’s a complete reversal of the way I was previously
working. I used to make images of the storyboards. When people
saw the films for the first time, they said, ‘It really looks like your
paintings,’ because [of] the compositions and all that, because
I had never made films before. The films were entirely derived
from the way that I would compose my paintings.
Though, in another reversal, the art comes from celebrity
entertainment.
The film with Lindsay, “First Point”, had not so much to do with
the adulation or worship of celebrity as much as the creation of a
portrait aside from that, a portrait of a person in the midst of a bad
time in their life. It was a very antithetical statement, absolutely
the opposite of the “Most Wanted” pictures, a motion portrait of
a young individual at a very transformational moment. It was surf
noir. The location was Malibu. The backdrop of the ocean, almost
like a limitless, existential environment, brings to bear the idea
of the individual in this limitless space confronting themselves,
idealism that’s gone completely off the rails. One sees impressions
of solitude and idealism and this growing sense of foreboding, a
darkening sense of an external menace we can’t really see in this
surf situation. At a certain point, the whole thing flips over into
some nocturnal sequence where there seems to be pursuit and
then confrontation being worked out in a very dramatic way by
Lindsay in some of the more gripping imagery I’ve seen of her.
There are some really haunting images that are unsettling in the
film.
As the subject transforms, so does the medium, from film to drawing
to painting. The finished portrait becomes the film’s dimensional
inverse, a bust present in the room.
There’s definitely a backwards and forwards there. My early
sculptures were essentially stand-ins for paintings. But when you
deal in sculptural form, its actually, surprisingly, far more limiting
because there’s only a certain aspect of reality that you can resolve
it in. These paintings differ in the way that they will absorb the
whole experience of the film. Since they’re shown in the same
space, one will see the film and it will change the way they see the
painting. They’ll never be the same.
Because they refer to a period of time?
Since they are short films, it’s easy to have the whole thing in your
mind as one is looking at this single image. The before and after is a part
of the experience of looking at the paintings. The paintings become static
placeholders for the event of the entire film.
The paintingBy way of consolidated recollection, they’re also multiples—widely seen—physically and as progeny.The artisanal nature of art, and I mean that in a negative way, has its value based
on its exclusivity, in its ability to keep itself away from people. I
think it’s no coincidence that Lindsay Lohan has embodied Marilyn Monroe and more recently Elizabeth Taylor, these iconic beauties of multiple eras. It’s because she has those qualities that can
express those very uniquely beautiful individuals through herself.
Is the option then the availability provided by reprints?
It’s not as simple as quoting Warhol, “I want to be a machine,” or
“I want my work to have an industrial quality.” Pop art is a fiftyyear-old concept. Obviously, so much has changed since then, like
in the way art interacts with broader media and flows through to
reach a broader audience. The work is a portrait of that condition.
In a digital age of greater discipline association.
And entertainers creating fashion lines. Whether it’s high-end or
mass populace fashion, we are talking about the most successful
harnessing of brands to create products for people, each varnishing
the other. By collaborating with these actors and models, the work
starts on the structure of a fashion shoot or a fashion short film.
© Richard Phillips. Courtesy Gagosian Galler
That structure is what is actually being appropriated because it is
so omnipresent. It eventually became a part of the language for
making the art, all of those things that the fashion industry has
been using for years.
Andy Warhol did films, and shot them in slow motion. Were these
movements, including the rhythmic distance between the ideal and
the real the product must travel to reach its consumer, a reason for
your interest in the moving picture?
To use fashion parlance, there were multiple kinds of deliverables
that had to be fabricated from the core experience, here being the
film. When we were about to release the first one, I got a lesson
in workflow and how the films had to be processed for different
formats. If they were going to be shown on a large scale, LED environment, they had to be one way. If they were going to be seen
on an iPad, there would need to be a different version made because you couldn’t force all that information through a very small
aperture to get into these smaller, degraded sites. In art, in order to
effectively communicate across all these different platforms, especially on the Internet, it required a closer look at the way in which
these things are being disseminated.
And how about how they were being physically made, couture ideas
mixed in with paint?
If you take it as a whole, there is a basic relationship to beauty,
and much of fashion is created in subordination to that idea. But
you could also say that about art. I think there is a very close relationship between art and fashion. They’re both forms. They can
function as décor. There’s a lot of conventional artwork that gets
made that doesn’t test the limits of what art could be. And yet,
there have been those who can take it several levels beyond that
normative convention. The same can be said about fashion. It’s
what you do with it.
With the films, your paintings act like skins holding in the other
experience like leathers do over a body.
I find painting to be quite radical and quite endlessly new and
exciting in the sense that it’s preciously antithetical to media and
to what photography represents. It literally is the accumulation
of sensitivity and of focus and of physical engagement. Images
absorb that, the physical nature of painting as an object, creating
something that needs to be experienced in the corporeal state.
Oil paint was developed to paint flesh. It is the ultimate way of
achieving that, far beyond the photographic realm because you
can physically generate effects that can’t be seen any other way.
It’s a physical and visceral experience that’s entirely made. I use oil
paint to its strengths, its advantage to create an uncanny feeling of
the presence of a person being there, even though it’s completely
out-scaled beyond our own physical limitations. That heightens
the experience of the skin and does so intentionally to bring a kind
of life, a physical relevance of being in front of the work. They’re
immersive experiences.
© Richard Phillips. Courtesy Gagosian Galler
“You reach a
level of physical perfection
that goes way
beyond rationality and
imagination…”
Because of what is occupied between the canvas and viewer, this
thin film and its hazy memory.
I was just in Basel for the film where they also had the Jeff Koons’
installation at the Beyeler. When you see his balloon sculptures
[Balloon Dog Red, 1994-2000], you see this absolutely unbelievable surface that is achieved by those dyed, polished aluminum
surfaces. You reach a level of physical perfection that goes way
beyond rationality and imagination. When you get to that point, it
becomes another type of repetition. There aren’t varying degrees.
It’s a statement of that limit.
Beauty has a tremendous power over our visual experience. Working in these new films, it has been more about choosing to use that
power. I see it as something that can be deployed and used in a
way to communicate, and not something that I’m necessarily enslaved by. My last exhibition at Gagosian uptown, I had a picture
of two men on the Bowery. It was far from beautiful. I see painting as having way more latitude in terms of generating unpristine
possibilities. It’s not so much to create the antipodal opposite to
perfected forms. The deconstruction and the ripping apart of perfection is the same conversation as the construction of it. It’s more
like an abstract. It’s a dream made real. ∞
31
© Richard Phillips. Courtesy Gagosian Galler
Olaf
Breu
ning
Queries of a Quirky Mind
by Charlotte O’Donnell Photography DAVID SCHULZE
Olaf
Breuning is the
Woody Allen of the art
world. Breuning is a self-professed
“complainer,” and his work pokes fun at
himself, art, culture, and the paradoxically
inescapable and inane politics of day-to-day
existence. For Breuning, an artist who switches
mediums so effortlessly that they could be instruments
of his own one-man band, the absurdity of modern
existence is a point of particular interest. He is no
artiste above the fracas of mere mortals; he’s one
of us, and as much as he complains, he’s happy
to be here. His work is often laugh-out-loud
funny and ingeniously simple despite that
it addresses weighty topics like war,
violence, cultural id entity
and environmental destruction.
Inspired by his “Art Freaks”
series—a collection of photos
of models’ bodies painted to
recall the signature works of
famous artists, we asked Breuning to paint
the body of Olympic figure skater Johnny Weir in Yayoi Kusama’s iconic polka dots. Before he got to painting, we sat down for a
chat. What artistic ventures are you working on now? I just finished a movie
called Home 3, and showed it in New York last week; I worked for about
half a year on it. It’s a story about New York City, and this crazy guy who
runs through the city and does weird things. That’s done now, and at the
moment, I’m working on drawings. Very simple drawings on letter-size paper, very
simple thoughts about life. What role do you think humor plays in your work, or in
art in general? I can’t stand people without humor; I never get along with them.
Without humor I couldn’t be alive, and that reflects in my art. Humor is often
put into the area of stupid or trivial, but I think it’s actually a very intellectual
tool to get along with this life, this world. Like Woody Allen movies. Woody has
a lot of humor, but always at a serious level. I like that very much. I couldn’t be
without it. Would you say your personality matches your work? Probably I have a sick
mind or something, but I would consider myself normal; I’m not eccentric. Often,
artists do something because they want to explore something that they aren’t.
Is there an artistic medium that you’re specifically interested in right now? I do
photographs, drawings, films, sculptures…now I’m doing drawings but then I’ll get
bored of it and I’ll focus on something else after a couple of months. How about
concept-wise—is there something you’re exploring at the moment? Oh yes, always the
same concept in my work. It’s always life, life, life. I’m always interested in that.
I’m always interested in asking very simple questions about our existence. Do
you see your work as reflecting the world? Criticizing
the world? Changing the world? My work is holding
up a mirror. I’m never someone who would force
my language on other people. I just do it because
I need it to go through life, to have a happy life. I
would never say what I do has to influence you or a
culture of people. But I’m a complainer; I do criticize
a lot. I have negative comments and I like to address
them, but not with the motivation to actually change
anything. More to get it off my chest and move on.
How did you get drawn in to creating art? My father
gave me a camera when I was 16. I was hooked. Before
then I had no idea what I wanted to do, but then it
became obvious. If you could go back in time and visit
that 16-year-old self, what advice would you give to you?
I don’t really have any regrets, I’m quite happy so
far in my life. I think I would tell myself, “when
you hear about the company Apple, buy all of the
stock.” If you could be anyone alive or dead, who would it
be and why? I’m quite happy with myself. Let’s say…
(glances at Man Ray coffee table book) Man Ray. I love
Man Ray. If you could be anything at all, what would
it be and why? This is a stupid question. A grape. ∞
35
Sibylle, 1997, cibachrome laminated on aluminum, 32 X 40 inches, Courtesy of the Artist and Metro Pictures, New York
Bully, 2000, c-print mounted on aluminum, laminated, 120 X 150 cm Edition 3, 80 X 100 cm Edition 5, 30 X 40 cm Edition 10, Courtesy of the Artist and Metro Pictures, New York
Elmgreen
and Dragset
“In a way, [the Prada Marfa] is our take on
land art, confronting the urban with
the rural, letting meanings collapse
and occur.”
Rocking the Art World
by Anne Szustek
certain place. We’ve shown work in Istanbul several times. Once
we made a modernist ruin in the midst of existing ruins, thereby
creating a dialogue between two former, yet oddly co-existing
worlds. Last year, as part of the Istanbul Biennial, we showed a
series called “Incidental Self”, which consisted of hundreds of
photos of men, mostly from gay venues, including Turkish gay
bars. This would not have been possible only 10 years earlier, our
first time at the Biennial. Another version of the work was shown
in Gwangju two years earlier, and was temporarily closed down by
the Korean authorities.
The artistic duo Michael Elmgreen and Ingmar
Dragset first met in the mid-1990s, an era characterized
by the rather uncategorizable: transformation and
dichotomy. For example, it was fashion’s era of
the supermodel, yet the threads they were wearing
were threadbare shreds of grunge—as was the U.S.
school of music of the time, juxtaposed nicely with
the Mersey beats of Britpop across the pond. Discombobulation was the order of the day. With this
backdrop Elmgreen and Dragset set out on their
career, using the flotsam and jetsam of Western civilization to poke fun at it and lead viewers to collective
societal introspection.
On to a venue that is not urban at all: Prada Marfa. I know
Marfa certainly has a thriving artists’ community, but how did
you decide to collaborate with the Italian fashion label? And
following the unfortunate vandalism of the site, you bounced back
pretty quickly. Tell me a bit about how you accomplished this and
what you’ve learned.
We had the idea of doing a Prada boutique in the American desert
I understand you met at a Copenhagen club one evening. You’re long before we actually landed the project in Marfa. It took two
from two different countries, albeit countries just adjacent to each years before being introduced to Yvonne Force and Doreen Remen,
other. How did you each independently wind up in Copenhagen? founders of New York’s Art Production Fund. They had close relations
Yes, the club was called “After Dark.” I’m [Michael] from Copenhagen,
born and raised. Ingmar grew up in Trondheim, in central Norway
—or the middle of nowhere, as some would say. He was finishing
theatre studies in Copenhagen just around the time of that fateful
night at the club, which led to a 10-year-long relationship and
17-plus years of artistic collaboration. That was in the mid ‘90s,
and we found a common language in performance art to start
with. Pretty queer stuff in the beginning, and the local Danish art
scene was not so keen on what we were doing.
to another non-profit, the Ballroom Marfa art space, and together
we went to look for sites, contacted Prada for corporate design
ideas, and commissioned an architect, builders and so on. The Prada
Marfa store stands alone along a desolate stretch of Highway 90 three
hours up from El Paso. It’s really no wonder that it sometimes gets
sprayed on, peed on or shot at. The few kids in the area are probably
bored shitless so it’s probably more fun to vandalize the Prada boutique
than the nearby ghost town Valentine, which is already crumbling.
Berlin was close, very cheap, and there seemed to be no set rules,
systems or hierarchies yet. We quickly found a huge flat with coal
heating, no bathroom, no hot water— and loved it. Moving to
Berlin felt like finding the Promised Land that no one had promised
you. Run down, gray and grumpy and full of opportunities you
had to create yourself. Ten years later, the areas where we used to
live and work, Mitte and Prenzlauerberg, were gentrified, turning
into near-versions of Copenhagen, so we moved to Neukölln,
transformed an old water pumping station into a studio, and Michael
set up a second home base in London. Berlin is still like a small
town compared to London, but that makes it a great place to
work and hang out with friends.
The most important is probably the first sculpture we ever did,
called “Powerless Structures, Fig. 11”. It’s a diving board penetrating
the panoramic window of Denmark’s Louisiana Museum. It’s
now on permanent display there. It’s a fairly simple work, but
it combines many aspects that were to become important in our
work: the questioning of the relationship between the institution
and the individual and the institution and its surroundings, and
the first installment of what we’ve called “denial processes,” in
which you’re seemingly invited to a performance that is impossible
to complete, and the referencing of homosexual imagery.
During the past decade or so, you’ve had large-scale exhibitions
in several cities, each with wildly different cultures—Istanbul,
São Paulo, Gwangju, Moscow, and Singapore. Do you feel you
adopted elements from the host cultures into your work?
We are putting the finishing touches on an exhibition at the Victoria
Miro Gallery in London, so that’s on our minds right now. In the
downstairs galleries, we’re showing our very first “paintings on
canvas,” white wall paint that we have carefully removed from
the walls of museums such as the Guggenheim, MoMA, Tate
Modern, Pompidou and Hamburger Bahnhof. It’s an ongoing series
While much of your art takes a playful tone, it often has a much
After collaborating, why did you decide on Berlin as your home more serious message. In your opinion, what has been your most
poignant work to date?
and work base?
I understand you have a big solo show coming up at London’s
Victoria & Albert Museum. Tell me a bit about it.
Sometimes we absorb local aspects into the work and other times
we challenge the general—and our own—clichéd perception of a
38
Prada Marfa, 2005, Courtesy of Art Production Fund, New York; Ballroom Marfa, Marfa, the Artists, Photo James Evans
that has a conceptual approach, but in the end looks slightly like
Robert Ryman paintings from the 60s. Upstairs, the ceiling structure inspired us to create a sort of hayloft, where smaller scenarios
give hints to a rural narrative in which the audience is invited to
partake. The exhibition as a whole is called “Harvest”.The V&A
show is set to open just before the 2013 Frieze Art Fair. We are
also working with a scriptwriter to develop a TV drama related to
the installation. Soon-ish to appear on a screen near you!
Speaking of the UK, tell me a bit about “Powerless Structures,
Fig. 10”, your installation commissioned for the Fourth Plinth
in Trafalgar Square. What did you intend to accomplish with
placing a youthful symbol at this square that is a monument to
British military might?
By placing a boy on a rocking horse on a central plinth on Trafalgar Square – the square itself named after a famous battle – we
of course take the piss out of the tradition of honoring military
generals. The work is in keeping with others we’ve done on
the hardships of growing up. The expectations of children to be
someone special and fit in to ready-made roles run in parallel with
the Western world’s general fear of everything.
We decided to work in a rather traditional visual language and in
traditional materials. The sculpture is made of bronze, brushed
to a golden shine. The rocking horse is apparently a Victorian-era
invention, so we decided to take that as a leading point. The aesthetics of that era are familiar. The rocking horse model we chose
is more IKEA than 19th century, though. We can’t completely get
away from our Scandinavian roots. ∞
Untitled (Home is the Place You
Left), 2008, Courtesy of the
Artists, Photo Elmar Vestner
40
ICE QUEEN
Photography CHEK WU
Sculpting SHINTARO OKAMOTO @ Okamoto studio ice sculptures
Earrings, rings H.STERN. Styling HISSA IGARASHI. Hair PAUL WARREN@ Art-Department using Rene Furterer. Makeup AKIKO SAKAMOTO@ See Management using
M.A.C Cosmetics. Model KRISTY @ IMG Models. Production, casting MARBLES & MARBLES : LOUISE GRAHAM.
Ruth Hogben
Desire’s Waltz
By Wendy Douglas
“Editing my latest project is like being addicted to a computer game… I can’t stop playing it,” says
fashion filmmaker Ruth Hogben, from her office in Dalston, east London. Hogben explains that after
working with incredibly creative teams and shooting in awe-inspiring locations, like Marrakech, it’s
hard to tear herself away from her work. This obsession with perfection and love for her art has taken
Hogben from assisting legendary British photographer and founder of the pioneering website Showstudio.com, Nick Knight, to directing films for Gareth Pugh, Lady Gaga, Alexander McQueen, and
Louis Vuitton. Her striking, sexually charged and provocative visuals remain in the memory long
after viewing, so it’s no wonder other creative industries take notice. This year saw Hogben directing
her first music video, for Kanye West’s “Lost in the World,” and there’s no stopping her now. “I’m
only at the beginning of my career and there are so many things I want to do,” she enthuses, “the whole
world’s really exciting and I can’t wait to carry on.” The TWELV team managed to distract her from
her editing long enough to get an insight into what actually inspires her.
44
Photo © Ruth Hogben, 2012 Courtesy the Artist and Art + Commerce
How did your love of creating images begin?
What’s it like on set directing the models?
What was it like working on your first project independently?
Do any of your shoots stand out to you as being the most rewarding?
My Dad gave me my first camera when I was about 12 or 13, and
I knew what I wanted from that moment on. I have a very beautiful
friend called Lauren who I spent a lot of time filming and taking
pictures of. I don’t really know what I did before then. Just messed
around with boys probably… Also, I’ve grown up being in amateur
dramatic plays and I’ve watched my Mum direct plays from a very
young age. It’s probably where I get my bossy side from.
I left working with Nick on the Friday, and the Monday after, Gareth
Pugh and I shot his A/W 09 film. I was terrified, like anyone starting
off on her own would be. I think naivety is good at that point because
if you had all the information you’d probably be too scared to do
it. I felt very free to create for Gareth. He’s very generous with his
thoughts and shares a lot. That shows in the film because I’m really
trying to represent his vision.
What’s your process when you’re working on a new film?
I always start with the clothes. Understanding the fabric, the print,
the color, who the woman is, understanding what the brand is.
Every project is different so every approach has to be different. I
don’t think I’ve ever clashed with anyone. You’ve just got to try
and understand what the end emotion is you’re trying to create for
the viewer. I’ve got such an incredible job that I love, it doesn’t
feel like a job, and there’s never really any need to disagree. It’s
just a conversation. I do the work, get it out there, and move on.
It’s an amazing part of the job. It’s another part of the collaboration,
finding out who’s special and why they’re special, who they are,
who they understand they are in the clothes. All the best models
are incredible performers, and a big part of what I do is falling in
love with a woman’s image. Every single girl I’ve worked with I’ve
connected with on some level. I’d be rubbish at my job if I didn’t
do that.
I think when the music’s fun, like the Louis Vuitton Fan Club
film, I have fun. If the girls are smiling, I’m smiling. I have to
dance in my head with the models, I have to move with them
constantly, so if it’s darker then I become a bit darker, but I quite
like that. It’s a huge part of my job.
What have been the transforming moments of your life?
I think there are lots of things that happen in life. You’re constantly
changing and that’s what makes the work so exciting. You’re constantly
having new ideas and evolving and growing. I don’t stay in one
place, I move on.
If you could transform into any person or thing, who or what
would it be and why?
I’d like to transform myself into a Helmut Newton model and
spend the day with him. That’s what I’d like. ∞
Photo © Ruth Hogben, 2012 Courtesy the Artist and Art + Commerce
G
e
ELLIE GOULDING
Pop’s Brightest Light
Photography CAMERON KRONE Styling ZOE COSTELLO
by Katherine Wilson
Dress REEM ACRA. On hair
MOROCCANOIL hair cream
Chances are by now you’ve heard of 25-year-old British singersongwriter Ellie Goulding, and if you haven’t, brace yourself,
because she is here to stay. Not only has her top single “Lights”
sold 3 million copies in the US, but it has remained in the upper
echelons of the Billboard charts for months on end, and has
been a go-to for radio and club DJ’s around the country. Ellie’s
transcendental Pop-meets-Dance music floats through the air with
her powerful and almost folkie soprano vocals, taking the listener
to another place. Born Elena Jane Goulding in Herefordshire,
England, Ellie attended the University of Kent, where she really
homed in on and discovered her intense passion for music. She
signed with Polydor Records in 2009, releasing her first EP, “An
Introduction to Ellie Goulding”, and nothing has been the same
for her since.
“The very first
time I heard an
acoustic song
that I wrote
on the radio
was quite
emotional.
I grew up
listening to
the radio so
it was very
surreal.”
Here, Ellie talks about the surreal nature of her career, performing
at the Royal Wedding, how she met Skrillex, and her upcoming
album “Halcyon” (Interscope Records), out October 8th in the
U.K. and October 9th in the U.S.
Before starting our interview, Ellie checks up on her hundreds of
thousands of fans on Twitter and Instagram to see their reaction
to a new remix of her hit song “Anything Could Happen”. (The
original’s my favorite of her songs.)
How did you crack the American market? Your album, Lights,
successfully released in the U.S. in 2011, and the song “Lights”
became a real chart-topper this year. Why do you think it took a
year for it to become so popular?
People just didn’t connect with it at first. I think some radio stations
were playing it, and they were getting an amazing reaction, and
others picked up on that and started adding it. And it was like a
domino effect. When people really started listening to it, it started
moving up the charts. It’s just like word of mouth. I started off
here in America through blogs, and I was doing shows even before
my album was out here. So, somehow, people were hearing about me.
Kind of like Carly Rae Jepsen?
[Laughs] I was forced to listen to [Call Me Maybe] ages ago. My
friends were like, “you have to listen to this song. It’s like the
best pop song of the last year.” I was like, “yeah, whatever.” I
was skeptical. And then I heard it, and I was like “Shit. This is a
fucking great song. I can’t get it out of my head.”
Tell us about the moment you first heard one of your songs on the
radio.
The very first time was a long time ago—I heard an acoustic song
that I wrote on the radio—I was with my family back home and
it was quite emotional. I grew up listening to the radio so it was
very surreal. Obviously I’ve heard “Lights” a lot lately here. Unfortunately it’s not as weird now. I feel like I’m slightly numb to it
just because it’s everywhere. I walk into a place and it’s on.
Your cover of Elton John’s “Your Song” is beautiful. Are you a
fan of his, and have you met?
I have not met him. I did that song for an advert in the UK. And
every person who’s done the advert has done really cool, credible things, so I decided I’d give it a go. I did it with Ben from
Mumford and Sons, so I knew it was going to end up sounding
unlike my own stuff. And then they loved it, so it ended up being
on the advert.
What’s been the most surreal moment of your journey in the music
world thus far?
Harness HERVE LEGER.
Pants VIKTOR & ROLF.
Gloves ROBERTO CAVALLI.
It would be mental if I didn’t say the royal wedding. Because
every time I came to London, I would stand outside Buckingham
palace looking in, and then all of a sudden we were driving in to
do a sound check. So I ended up going to Buckingham palace
three times in one week—one for the sound check, one for the
performance and then the other one was to meet the queen, along
Harness HERVÉ LÉGER.
Pants VIKTOR & ROLF.
Gloves ROBERTO CAVALLI.
51
with a bunch of other young musicians. That has to have been
the craziest week of my life. I mean, still, people don’t believe
me when I tell them. They’re like, “yeah right, no you didn’t.”
Let’s talk about your soon-to-be-released album Halcyon. Tell us
about the songwriting and recording process and what makes this
album different.
I wrote pretty much all of this album out in the countryside, out
where I grew up in Herefordshire, once I finished the major work
with Lights and touring. The songwriting process definitely varies, but mainly it can be, like, Jim [Eliot], my producer, might
have started to make a track and then I start saying, “How about
this, how about that”, It’s really like experimenting. It’s like two
kids making something—like child’s play, experimentation stuff.
That’s how I like making music. Any kind of formality involved,
and I freak out and go into a shell.
Describe the sound of the new record and how you hope people will
react to it.
People have been saying it’s different, but it’s still Ellie Goulding. It’s not really obscure and not like I’ve gone in a completely
different direction. Mainly it’s a bit more raw and a bit more like
I’ve committed to every part of every song. My voice is way more
present; instruments I’ve used are way more obvious. It has a
special sound.
So how did you meet Skrillex?
We met because he emailed me saying that he was a really big
fan. And I emailed him back saying “I’m a big fan of yours”, and
that’s how it started. People say that Sonny and me are really
similar. Actually, we are really similar (smiles).
Are you a fan of Dubstep?
I listen to Dubstep a lot. I’ve listened to Dance music since I was
a child. My mum has always been into it and used to make me
mix tapes and stuff. And around the time I was growing up, it was
the beginning of proper Ibiza Dance music, and I fell in love with
it from a really young age. And then it developed into big Trance
songs, and then Drum and Bass, and that bred into Dubstep. I’ve
heard this thing called “Tramp” music. Have you heard that? It’s
kind of Dubstep, kind of Hip Hop, but really more suitable for
clubs… I could talk about this forever.
Who are you hoping to collaborate with in the future?
Drake. I would love to do a track with Drake, but I just don’t
think it’s going to happen. I know he knows who I am. The thing
is that I still believe that no one knows who I am. I’m like, “does
so and so know?” And it’s like, “yes!”
Would you say that you are still just a normal 20-something-yearold woman?
I am, completely. I think that, because of what I do, I definitely
have more command and more efficiency, because I know now
how to get things done quicker. I feel way more focused now, because I can be. But that’s the only difference, really. I’m still the
same that I was, really—my mum, and going back to my flat and
seeing my friends, keep me very grounded. Also, my manager—
no one lets me act like a total knob. Like, if I have a crazy idea,
my manager will be like, “I’m shutting that down right now.”
Jacket GUCCI.
Pants JEAN PAUL GAULTIER.
Necklace LADY GREY.
If you could transform into anyone, who would it be?
I’d transform into the president (of the U.S.), because I feel like
the president has so much information and knowledge that perhaps nobody knows. I’d be like, “Area 51—what’s up with that?
Take me there now. I want to know what’s there.” Because you’d
be so intrigued. There could be aliens and stuff. ∞
Hair HARRY JOSH. Makeup BRIGITTE REISS ANDERSEN.
Production, casting MARBLES & MARBLES : BRENDA ARMENDARIZ.
Jacket JEAN PAUL GAULTIER.
Dress THEYSKENS’ THEORY.
Earrings WOUTERS & HENDRIX.
Shoes VIKTOR & ROLF.
101
Photography MACKENZIE DUNCAN
Styling HISSA IGARASHI
Hair SHINGO SHIBATA. Makeup MIZU
using Maybelline New York. Model ZHENYA
KATAVA @ Women Management.
Production, casting MARBLES & MARBLES :
LOUISE GRAHAM.
Jacket, dress JEAN PAUL GAULTIER. Tights
WOLFORD. Ring PATRICIA VON MUSULIN.
Shoes SERGIO ROSSI.
SASKIA DE BRAUW
MODEL CITIZEN: CANCER ACTIVIST, ARTIST, MODEL, BLOGGER
by ABERNATHY MILLER Photography GIOVANNI ZACCAGNINI
important transformative experiences of my life. It gave me
financial freedom, and it also deeply changed something inside of me. I became more grateful for the things that happen to me. I learned to let go of control, to have fewer expectations and be more in the present moment.
Have you seen the fashion world transform, in the time you
were away from it?
I did not work in high fashion when I modeled before. I
mainly worked for the Dutch, and I definitely think the
Internet has changed the fashion world. Blogs, forums,
twitter have a great influence on what people think about
models, designers and photographers.
You do considerable charity work with cancer organizations.
Which groups do you work with, and how do you participate?
I have participated in Fashion Fights Cancer, and I participated in this specific project because a friend of mine, photographer Giovanni Zaccagnini, asked me to be part of it as
he was giving a fashion photography workshop for a group
of women who had all been affected by cancer. He wanted
to organize a shoot with a “real” model. I said yes immediately because I think it is important to do things that are
not for prestige or money but just for the sake of giving and
exchanging emotions and experiences. I feel that this project
did just this. I am still in touch with some of the women. I
think everyone who was present that day could feel the sincere sharing and celebration of human contact.
Does the idea of transformation play a role in your charity
efforts, in terms of transforming others’ lives, or your own?
How so?
Not many people are willing to walk away from the
glamorous world of high fashion, but Saskia was.
After a two-year hiatus and some time at art school,
model Saskia de Brauw is back and even better than
before. Saskia sits down with TWELV to discuss creating art, cancer activism, and staying humble.
How has the journey back to the fashion world been for you?
I like that you use the word journey—that’s how I like to look at life. Life
is not about reaching one’s destination point, but constantly arriving and
departing. These last two years have been very special, exciting, tiring,
and full of discoveries.
How did taking time off for art school affect your approach to modeling
and fashion?
I have a good understanding of the creative process. I enjoy seeing how
other people’s ideas come to life.
Can you speak about a particularly transformative experience in your life?
Entering the fashion business has, without a doubt, been one of the most
Doing charity work is not about yourself but about other
people, and of course you are transformed by this experience, as long as you do things from the bottom of your
heart. If you end up the same person as you were when
you started, something has gone wrong.
How has your own work as a visual artist transformed over
time?
I’ve always been fascinated by the place a body occupies in
a space, and I have explored this concept in various ways.
Later on, I explored the emotion and memories that certain places carry with them. Now I am going to explore how
people’s movements through space tell stories. Walking and
routes are ways of storytelling.
How do you see your own life transforming over the next 5 to
10 years?
I hope that my work as a model and as an artist will merge or
maybe overlap. Maybe I’ll start a project in which the fashion world could be a podium for my own work or, with my
work as a model, participate in more artistic, unusual projects. On a personal level, I hope to become more peaceful
inside and remain humble. ∞
SASKIA DE BRAUW @ DNA Models. Photography GIOVANNI ZACCAGNINI @ Kess Agency. Styling CHRISTINE DE LASSUS @ Art Department.
Hair DIEGO DA SILVA @Tim Howard Management. Makeup RALPH SICILIANO @ D+V Management. Manicure KELLY B @ de facto.
57
STEVEN KOLB
CFDA CEO: FASHION’S MAIN ACT
by ABERNATHY MILLER Photography CAMERON KRONE
NEAL HAMIL &
WAYNE STERLING
MIXING UP THE MODELING INDUSTRY
Another sterling idea: Model management built for a digital world.
by Hillary DeveR Photography DAWIDH ORLANDO
Neal Hamil and Wayne Sterling are fearless. After creating Models.com and serving as CEOs
for Ford and Elite, the two decided to team up and take on the modeling industry in a new
and creative way. Their brainchild, Mix Model Management, promises to find, (as stated on
their website) develop, and guide a new wave of multi-talented personalities in both fashion
and entertainment by navigating the digital landscape of the social networking age.
Neal, after working at Ford and Elite for 35 years, what made
you want to start your own company?
Eschewing grand parties and money-making jobs, the wise CFDA head discusses philanthropy,
Olympic uniforms, and making it in the fashion world.
NH: Initially, Eileen Ford adopted me into her business. She
was a remarkable woman. I decided to leave the industry for a
while because I was exhausted, physically and emotionally. It
was the morning of my birthday, when I decided to go. I just
wasn’t loving it anymore. After the hiatus, I went to Elite. It
was a lot more work than I had anticipated. I ended up constantly working and it ruined some personal relationships. I
realized, one morning, that I was reliving the same cycle. So,
I decided to find my happiness elsewhere and trust myself.
That’s when I decided to start MMM.
Why did you bring on Wayne?
Though he’s the ringmaster of the most glamorous circus in the world, Steven Kolb is also the
definition of Zen. As CEO of the Council of Fashion Designers of America (CFDA), Kolb works
with some of the biggest names in the business. When he isn’t juggling continuous meetings, or
watching the CFDA’s many projects come to fruition, the man at the center of the ring skips
exclusive parties and heads home to hit the sack early. He isn’t what you’d expect of a fashion
heavyweight—he’s actually better.
I had always wanted to work with Wayne, even while I was at
Elite. We have two totally different mindsets and sets of contacts within either industry. Together we share a great camaraderie. We both believe in being aggressive, without stepping
on anyone to advance.
Your twitter account bio says you’re an “accidental fashion What’s your day-to-day like? Is it all glamorous galas?
drone masquerading as the CEO of the CFDA.” What was your I honestly don’t like parties and galas. I like when I get to go
career goal when you were younger?
home at the end of the day. Daily there are tons of meetings.
WS: It was 1999 and the Internet was just starting to gain popularity. My friends thought I was crazy to leave print and create
something for the web. But I thought it was something exciting. So I took the chance. I left after 12 years because I wanted
I thought I wanted to be the press secretary for the president. I
wasn’t sure, but I did know I didn’t want to work for a corporation.
I knew I wanted to work for something bigger than money.
That’s how I ended up working in the not-for-profit sector and
eventually for the CFDA.
The staff works really hard. There is no day that is the same as
the next day, except in that it’s always full from start to finish.
Do you find working in fashion gratifying, in the same way
that working for nonprofits was gratifying?
Ralph is an ambassador for American fashion. He employs
hundreds of people daily. Manufacturing decisions are based
on many factors, and I am not informed enough to know what
an Olympic uniform requires. What I do know is that the
people who design it, the people who ship it, the people who
work around it—those are jobs. I think sometimes things get
seized upon for other reasons than what is actually happening. I’m really proud of the U.S.A. as a country and of the
Olympic uniforms.
You mentioned that working with Ralph Lauren was a big moment
for you. What did you think about the controversy over the 2012
Olympic uniforms?
I find it very gratifying. The fashion industry is good for America. It’s the second largest industry in New York. It’s about
people’s jobs, from the designers, to the people who sew the
clothes, make the fabric, or print the magazine. It’s a big part of
the American economy.
The CFDA raised money for cancer and for relief efforts in Japan.
Why is it important for the fashion industry to work towards
these kinds of causes?
What advice would you give someone who wants to be in the
The CFDA in particular has been very focused on fighting fashion world?
AIDS and breast cancer because the people we work with, and
those who buy our clothes, are personally affected. What happened
in Japan affected us because many of our designers have colleagues
there; it felt very personal. It was just a natural response to help.
Be certain you want to do it. Just because you have an idea or
a sketch doesn’t make you a designer. Learn what it means to
sew, and the mechanics of making clothes. The technical side
is very important. They also need to be patient. ∞
Groomer BRIT COCHRAN @ Art Department.
58
Wayne, why did you create Models.com and then leave?
a change. Neal had been asking me to work with him, so I
finally said yes.
What is a typical day at work like?
NH: A typical day here is just like any other agency with
mornings always being the busiest—models coming in and
out, connecting and contacting everyone around the world.
WS: We typically put in a 14-16 hour workday. We are at the
office from 9 a.m. to 7 p.m., but afterwards there are always
about four hours of texting, emailing, meltdowns and motivational speeches.
What makes a successful modeling agency?
WS: The key is quality of service. We want to serve the models
well, so they are more prepared and therefore landing more
jobs. We want to achieve a new idea of model and talent management that can be plugged into the digital and media world.
What do you wish to see for the future of your models and for
the growth of MMM?
NH: I really hope to achieve better relationships with the
models. I want to create and brand unique individuals with
depth, who would have the capability of falling into different
roles, besides those solely focused on modeling. We want our
models to become iconic. ∞
Makeup KUMA
KRISTIN DAVIS
FROM SEX and THE CITY TO OXFAM AFRICA
by ANNE SZUSTEK Photography NABIL ELDERKIN
Kristin Davis wears many hats, and they aren’t just
ones by Phillip Treacy. Television fans know Davis best as “Sex and the City”’s delightfully preppy,
Charlotte York. Davis has since added “mommy”
and “Broadway sensation” to her resume. But in
one of her most important roles, Davis serves as an
Oxfam ambassador, championing women’s empowerment initiatives throughout Africa.
When did you first go to Africa? Tell me about the experience.
When I first went, it was on a safari trip by myself. I was inspired to go
there because of my interest in nonprofit work. I went there in
early 2001 to Tanzania and Kenya.
their work force, with the men often going to work in the city and
women and children staying in the villages, so a huge percentage of
local farmers are women. Each region has its own problems with
regard to farming. I worked alongside these Tanzanian women on
their farms. One of the women just had a hoe and a shovel—that’s
all she had. She used to farm only pineapple because it was easy
to grow. After Oxfam stepped in, she was able to farm 12 different crops. We worked to get new crop seeds to the people. Helping seems like it’s so complicated, but it’s not.While in Tanzania,
the Dadaab crisis was unfolding. We changed our schedule to go
with Oxfam to the Dadaab refugee camp. The people sometimes
walked hundreds of miles, kids dying of hunger and animal attacks
along the way. The stories we heard were shocking. Oxfam and
other organizations were doing their best. Luckily, we were able to
raise funds in London for the cause.
What has been your most memorable moment in your work with
When did you start volunteering with Oxfam? How did you get Oxfam?
involved with the organization?
There was a woman in Dadaab who sticks out in my mind. I’ve
I went to a party at George Clooney’s place after the Academy Awards,
and I met some Oxfam representatives there. Oxfam specializes in
sustaining healthy communities in ways that go beyond food and
charity handouts. Some organizations like the Red Cross come and
give the basics, which is obviously very important. But what drew me
to Oxfam is their commitment to building cultural understanding
and setting the groundwork for long-term sustainability.
What projects have you been involved with? Where are they located?
The last trip I went on was to Tanzania. I was focused on the
Grow campaign, which works to build food security for everyone
around the world. During recent years, poor countries have shifted
cried about it numerous times, thinking about her. When I was
there, it was a dire situation, obviously. She had polio so she
couldn’t walk. She had lost her husband and her kids. People like
that stand out, and there are lots and lots of women who are in
that situation. However it’s not all like that. Most of the programs
I visit with Oxfam are very encouraging. With help from organizations like Oxfam, they can create sustainable life. From farming
and raising livestock, they can earn enough to send their children
to school, which in turn changes their child’s entire future.
It seems like a daunting task to build sustainability, but it’s really
not. It’s actually quite inspiring.
I see that your work with Oxfam takes on a very pro-woman tone.
What are your impressions of women’s rights and cultural mores
in the regions of Africa where you’ve worked? Have you seen any
changes in cultural perceptions on any level or since you’ve begun
your volunteer work?
Every country is different, for sure. In Ethiopia’s [history] women fought off the Italians, who were trying to colonize the area.
Ethiopia is one of the two African countries that were never colonized. They have some tough women there. Since they have a
nomadic history, raising goats as their livestock, goat’s milk is how
they would feed their children. We brought in a new goat for them.
Women could sell milk and meat to people in new communities.
But when talking about the project, we couldn’t get women to
speak in front of the men. We had to take them aside to get them
to talk about everything. But you do see success, in small ways.
How do you juggle your volunteerism with your other commitments?
It’s not that hard really! I’ve been very lucky. Broadway is all at
night, so I can spend time with the baby. Sometimes it’s a bit tough
with a one-year-old. The two charities I do, Oxfam and my
work with the elephants, come up so organically. The people I’ve
met have kept me in the loop. For example, I get updates from the
Dadaab team. I feel so lucky to be part of it all.
What’s next in your philanthropic career?
We have a big event for Oxfam coming up in October, in Oxford, England. It will have concerts, and people from Oxfam projects around
the world. I think it would be great to have the actual people involved together at the event. Oxfam has so many great projects
and people working on them, it’s terrific. ∞
60
MARTIN IZQUIERDO
Divine talent gives them wings. Victoria’s Secret wings, to be precise
by Emily Kirkpatrick Photography CHAMA
Although you may not know Martin Izquierdo, we’re sure you’ve seen his work. He is the man
behind the famed Victoria’s Secret wings. Now he lends his talents to TWELV, creating a largerthan-life model/robot hybrid. We spoke with Martin and his assistant Nicolas Putvinsk about their
love for costume and all things fabulous.
What was the first costume you ever made?
Where do you draw that line?
Martin Izquierdo: I designed costumes for “The Nutcracker”.
MI and NP: Once people wear it on the streets (on any day but
Nicolas Putvinsk: I designed a high school production of “Into Halloween), it becomes self-expression and stops being costume,
the Woods”.
no matter how crazy it might be.
Can you describe the process a costume typically goes through from Are there any other designers whose work you admire? Who ininception to completion?
spires you?
MI and NP: We start with the idea and only begin sketching after
countless hours of research. After that, we usually spend a few
days swatching fabric and materials. Then we’ll usually have 2-3
fittings before we consider the costume to be done.
MI: I’m inspired by Ann Roth, Willa Kim, Zack Brown, and LaCroix.
NP: Eiko Ishioka, Iris Van Herpen, and Olivier Theyskens.
MI and NP: Heidi Klum. She has been a wonderful friend and
client. We first met her when she was modeling for Victoria’s Secret,
and we have been doing her Halloween costumes ever since. Every
year we go grander and grander.
show, every summer that, in one night alone, brings in over one
million dollars for charity.
Tell us about the charities you work with or support.
MI: I work with Broadway Cares/Equity Fights Aids, and the
You’ve dressed top models, actors and musicians. Who has been ASPCA.
your favorite person to costume?
NP: I’m one of the designers for the big Broadway Cares Burlesque
If you could transform into any person, alive or dead, who would
it be?
What was the most difficult costume you ever made?
MI: Salvadore Dalì—he was a wonderful person who got to be
around beautiful women and designed for movies, theater, and
What’s something you might not know about the Victoria’s Secret fashion.
wings from having only seen them on TV?
NP: Cloris Leachman.
MI: They are dangerous.
If you could transform into anything, what would it be?
NP: They are very heavy.
MI: A Bird of Paradise.
For you, what’s the distinction between fashion and costume?
NP: A bioluminescent jellyfish. ∞
MI and NP: Silk-screening the Spider Man movie costumes.
61
J
JEAN-PAUL
GAULTIER
Photography Taka Mayumi
Styling SOHEI YOSHIDA
All clothes by GAULTIER PARIS
Jacket,Shirt STELLA MCCARTNEY.
On hair L’OREAL PARIS hair spray.
JEAN-PAUL
GAULTIER
C’est ça la mode!
by Eric Waroll
Photo by Rainer Torrado
It has become almost useless and banal to introduce Jean-Paul Gaultier.
The mere mention of his name alone elicits a constellation of images
that have become part of our mind and imagination since he first
appeared on the fashion scene back in 1976.
He is part of those who make and break times. Fashion icon of social transgression, he
used all its signs: tattoos and piercings, punks and skinheads. Subversive leader, fashion
rock star, Jean-Paul inspires countless young fashion students trying ‘to find the almighty line
between making it big and not compromising oneself. What is certain in this counter, pop-esque,
culture is that there will be a before Jean-Paul Gaultier, and an after Jean-Paul Gaultier.
64
Jacket,Shirt STELLA MCCARTNEY.
On hair L’OREAL PARIS hair spray.
Every child has always been faced with the famous question: “what would you like to do when you grow up?” I experienced this particular moment when I was only 5 years old. I
was at the dinner table and my parents asked the question
for fun. I vividly remember answering: “I would like to be
like Jean-Paul Gaultier.” Failing to have a talent for drawing,
I ended up with a good ability to write more or less good
things. But Jean-Paul has always stayed in my mind. JeanPaul Gaultier, the boy, born in 1952, in a Parisian suburb,
has come a long way since his grandmother introduced him
to couture many years ago. The man affectionately called
the enfant terrible of fashion proved to be the exact opposite of it in his childhood: “Enfant terrible? No, not at all.
I was a very wise but lonely child. I did not like to go to school,
I preferred to stay at home and watch the clouds out through my
window, dreaming...” To his seven-year-old self, he would
say: “You must have a passion in life, with passion anything is
possible.”
“When I was ten years old I saw, with my grandmother, “Falbalas” by Jacques Becker on television, the story of a fashion designer who falls in love with the fiancée of his best friend and he
commits suicide at the end...I did not - of course - want the tragic
end, but in the film there was a fashion show and when I saw it,
I immediately knew that this was what I wanted to do in my life.
Being a designer, presenting fashion shows.”
He designed his first portfolio in a brown school notebook
in 1964. He was only twelve, but his pencil stroke was already like a professional one. He had already mastered the
trapeze dresses, and was inspired by Dior to design coats.
His grandmother, and magazines, taught him couture,
before becoming the darling of editors later in his career.
Like many successful entrepreneurs he fed his devouring
ambition by devoting himself completely to his passion,
stopping his painful high school experience and dropping
out. The rest is legendary: After sending him his sketches,
Pierre Cardin called him and hired the young man, from
there he was hired by Jacques Esterel only to return to
Cardin in 1974. 1976 saw the presentation of his real first
collection. The eighties were already waiting for him with
arms wide open, as he would reign as the ultimate fashion designer for the following two decades, before being
crowned as a god of fashion. His unique vision put him at
the top of the industry, and it has never dampened since.
He surely knows that being politically correct is boring and
he is, therefore, exuberantly politically incorrect. Fashion is
made for this: to change attitudes and to be ready to sometimes shock. He was one of the first to put a skirt in a collection for men.
“I never wanted to provoke, I just wanted to show what I found
just for the [present] time... The skirt for men came at a time
when manners were changing and men could more easily show
their feminine side.”
To push the envelope is the goal of Gaultier’s approach,
and the best partner for him was undoubtedly Madonna.
Their collaboration has, and still does produce a lasting
aesthetic shock. Together, they embody a unique provocative pop-rock sequence. In her last world tour, the ‘MDNA
Tour’, the singer who once mistakenly called him ‘Goltière’, asked him once again to collaborate with her on the
tour’s concert costumes.
“Madonna is a permanent inspiration and it’s always a pleasure
to meet and work with her. I think she’s great, I saw her concert,
which was amazing.”
While the Madonna/Gaultier duo seems to be immortal,
“I do not
see myself
as an artist
but as a
craftsman...
I do not
think
fashion
is art.”
other collaborations have fallen apart. Thinking back on
his time spent at Hermès, for which he presented his first
womenswear collection in 2004, he says:
“I have great memories; it’s a love story that lasted seven years. I
wanted to see what a boy coming from the suburbs could do with
the ‘Faubourg’, and I think it was a pretty good success.”
Neither does he hesitate to talk openly about his respect
for his colleagues:
“I have an admiration for many designers such as Pierre Cardin,
who gave me my chance when I was eighteen, Yves Saint Laurent
who revolutionized fashion, Rei Kawakubo, John Galliano, Martin Margiela, who was my assistant...”
Although he was recently honored by a major traveling retrospective exhibition, he says,
“I do not see myself as an artist but as a craftsman...I do not think
fashion is art.”
After spending thirty years in the industry he’s seen everything, and when asked about all the transformations he has
experienced, he answers:
“There have been [many] throughout my career but I feel that the
greatest transformation came with large groups.”
His prolific creativity pushes him to work, as, “anything can
inspire me - travelling, books, cinema, theater...”
With a career spanning three decades, he obviously had the
time to dip a foot into music (remember his “How to do
that?” single back in the late eighties?), cinema, books and,
most recently, a collaboration with Coca-Cola to design his
own Diet Coke bottle. So what is there left for him to do?
Is there something he would like to do?
“Yes, but I surely do not know what else.”
Is he thinking about stopping his career anytime soon?
“I hope one day I’ll stop but I do not know when...”
So before he stops, I had to ask him for a favor: to name one
of his next men’s collection pieces after me.
“Sure Eric, we’ll see”,
he said. So even if I am not a fashion designer like him,
maybe Jean-Paul Gaultier will give me the chance to turn
myself into a fashion piece. Isn’t that the best gift my fiveyear-old self can get? ∞
Hair TEIJI @ Terrie Tanaka Management using KMS California. Makeup FUSAKO OKUNO @ Artlist. Model MARTHA STRECK @ IMG Models. Photography Assistant
YOSUKE KOJIMA, RUMI MATSUZAWA. Styling Assistant SAORI SENDA. Hair Assistant YOKO ODO, YUJI OKUDA. Makeup Assistant YUI KORETOMO.
Jacket,Shirt STELLA MCCARTNEY.
On hair L’OREAL PARIS hair spray.
Dress BILL BLASS.
AFTER & BEFORE
Photography CHAMA
Designed by MARTIN IZQUIERDO and NICOLAS PUTVINSKI. Special effects makeup artist JOANNA MITCHELL. Model (Robobelle) ANNABELLE TSABOUKAS
@ Women Management. Production, casting MARBLES & MARBLES: BRENDA ARMENDARIZ. Hair TAICHI SAITO. Makeup KUMA.
70
MUG
LER
“What’s important is to keep taking
risks and trying new things, giving
opportunities to new talents.”
You are considered one of the most influential creative forces
working in fashion today. How does that feel?
My job feels more like a hobby than a job, really; it’s always fun.
I always try to do as much as possible to keep inspired and learn
about new things. What’s important is to keep taking risks and trying new things, giving opportunities to new talents—this is what
is really important.
You are quite prolific and juggle many different projects across the
globe; where does this need to be “everywhere” come from?
Well, my parents were constantly flying, as my mother is a stewardess and my father a pilot, so I guess a part of this is my constant
traveling; also, it’s the way to keep finding new talents and new
inspirations—traveling is a very important part of the inspiration
process for many “creatives,” I guess.
How was it to be born in Japan and to be raised in Rome? Did
you try to assimilate both cultures? How did they influence you and
your work?
Yes, I was always trying to assimilate both cultures, but London
also influenced me a lot—that’s where I moved to study architecture but ended up being a club kid and then working for Dazed
and Confused. All this together constitutes my background of
mixing culture.
So, tell me, how did you get into fashion?
In my early 20’s, I used to be a buyer for avant-garde London shop
The Pinéal Eye, and then, Katy England of Dazed and Confused
asked me to be one of their fashion editors with the « Eye Spy »
monthly column; then, I became the magazine’s fashion director
in 2005.
What makes you like fashion so much?
What interests me about fashion is to destroy it in a way [and then]
to recreate it—probably something I got from English punk subcultures. I also appreciate the possibilities you have in fashion to
meet incredibly nice and creative people, and that you can always
try new things. Fashion is a constant experimentation.
Before joining Mugler, what did the name evoke for you? Can you
tell us about how you got the job at Mugler?
Photo by Branislav Jankic
NICOLA FORMICHETTI
Fashion Is A Constant Experimentation
by Eric Waroll Photography JENS LANGKJAER Styling SOHEI YOSHIDA
As one of the most important fashion innovators of the 21st century, Nicola Formichetti has
nothing to prove to anyone. Creative director for Mugler, fashion director for Vogue Hommes
Japan, and stylist to Lady Gaga, the designer routinely takes artistic risks, surprising fashion
and pop fans alike. The panda-loving, legend-in-the-making took a break between his travels to
give us a glimpse into his curious mind...
72
For me, Thierry Mugler is a fashion god. It was the perfect mix
between technicality of fashion and the show, the big shows with
all the supermodels, and the pop stars. A Thierry Mugler show is
beyond fashion—it’s entertainment. So when Mugler CEO Joel
Palix called to ask me to become Mugler’s creative director, it was
totally unexpected and I was not sure I could take over such a
legacy, but after discussing the job offer with Lady Gaga, I decided to say yes!
How would you describe the new Mugler world?
The first thing we did was to change the name from Thierry Mugler to Mugler, to make a digital, global label for fashion—without frontiers. No borders, [neither] geographically nor creatively.
I want to take fashion to the next level with Mugler. We have
this amazing history and archive but had to transform them into
the digital world. The Mugler fashion vocabulary is still there; it’s
updated into the digital fashion era.
In addition to Mugler, you also work with Uniqlo. What do you
think of this tendency for great designers to democratize fashion by
making affordable, ready-to-wear collections? What does teaming
up with Uniqlo mean for you?
I am all about democratization—this is what I’m doing when we
live-streamed 24/7 from the Mugler studio three days before the
menswear F/W 2012-2013 show. We opened the doors to what nobody else ever showed to the world before, because I want the
kids on Facebook or Twitter or Weibo to be able to be part of
it. Uniqlo has this genuine democracy of fashion in the way that
their apparel is willing to help people, with easy access and helpful products. This collaboration brings to me the possibility to see
all different sides of fashion, giving me a wide range of approaches
to making fashion.
We live in a very digital world right now. What do you think of all
these social networks, blogging, etc.? Are they good for your work?
It’s a good thing. It abolishes the barrier there used to be between
the elite and the rest of the world; now everybody can access any
information and all doors are open for everyone—this is what’s
great. In my work, I collaborate with everyone on the web, and I
design, as a collaborative effort, digitally with people located in all
parts of the world. I’m not an elitist so I want to share what I’m
doing with everyone; I remember that straight after the Mugler
F/W 2011-2012 women’s show, Gaga and I ran backstage to our
computers and went on Twitter to read what the fans were saying. I did put a lot of energy in the different live streams of Mugler shows because I wanted the people in front of their computer
screens to have a better seat than the people in the front row!
You will soon launch your own brand. Can you tell me more about
it? Is it going to be available everywhere?
For now, NicoPanda is about accessible t-shirts, jewelry, and other
special pieces sold in temporary pop-up stores all over the world
and in select stores around the world, before the end of the year.
It’s really about my alter ego NicoPanda, and it’s fun.
With so many projects in the works, how do you manage to find
time to look for inspiration?
This is how I find my inspiration: by working with many, many,
many different people from all over the world, from so many different fields of work, in so many different places, and for so many
different projects. It keeps my mind open to new visions and
brings me a constant flow of inspiration.
And how do find time for yourself? What do you like to do in your
free time?
Actually, I love to use my free time to put together new ideas, so
it’s kind of work also, but I also play piano. I was trained as a classical pianist as a child, so I still play for relaxation.
The theme of our issue is transformation. If you had the chance to
transform into anything, what would you be?
[Laughs] Probably a panda!
Who would you like to transform into?
I think Gaga and I are already transforming her into many different characters during our collaboration together, and there’s, for
sure, much more to come. ∞
Hair TEIJI @ Terrie Tanaka Management
using KMS California. Colourist DAVID
GILKINSON using L’Oreal professionnel.
Makeup NAMI YOSHIDA.
Models ALYS HALE, HANNAH COTTAM,
GABY LOADER @ Next Models. Photographer Assistant WILLOW WILLIAMS.
All clothes and shoes by MUGLER
Norman Reedus
Zombie Therapy
Photography ADRIAN NINA Styling HISSA IGARASHI
By Anne Szustek
Star of “The Walking Dead” chats about his own transformation from visual artist to
performer and his characters latest changes. Norman Reedus spends many of his days on
set as Daryl Dixon, star of hit post-apocalypse zombie series “The Walking Dead.”
The early September humidity formed a thick haze between us and
the high-voltage power station under our feet in Brooklyn’s Dumbo.
Just beyond where we stood lay the end of Jay Street, a major
Brooklyn thoroughfare, arrested only by the less-than-sparklingclean East River. Some 15 miles to our backs, a tornado churned
in Breezy Point, NY. The feeling was of creativity and flux—two
transient forces that have remained constant in Norman Reedus’s
life and career.
How did you manage to switch to performing arts after starting as
an interdisciplinary visual artist?
Fast-forward to your role as Daryl Dixon in the hit show “The
Walking Dead”. How has your character evolved during the show’s run?
The show starts while Daryl is under the thumb of his racist, drug
addicted, asshole big brother Merle. I wanted to be embarrassed
at having a big brother like that, instead of being like Merle. I
wanted to be more of an Al-Anon member and less of an Alcoholics Anonymous member. Daryl’s starting to become the man he’s
never had a chance to become. This group of survivors needs him,
and he’s never really had anyone rely on him before.
What do you think of the whole zombie meme of late, both fictional
and those associated with unfortunate events this past summer?
I got a job at a motorcycle place in Venice, California called “Dr.
Carl’s Hog Hospital”. The night I quit that job, a friend took me
out to a party up in the Hollywood Hills. I got drunk and started
yelling at a bunch of people, and somebody asked me to be in a play.
Getting old and dying alone is my worst fear, so I understand it.
The thing about the way the zombies are written in the show is
that you almost feel sad for them. There’s a dying, lost person behind the monster. I think that theme is a pretty universal one. We
all grow old, we all get sick, we all decay, and it’s a scary thought.
I think to be able to look at that fear and stab it in the brain is in
some ways therapeutic.
How have you changed as an actor since your first film, “Mimic”?
I think the biggest change came in my third film, which was about
a kid whose father was in a drunk driving accident that put him in
a wheelchair. My father in real life was in a wheelchair. The first
take we did of the son and father, I cried so much that snot came
out of my entire face. The second time we did it, we broke for
lunch, and instead of going to lunch, I sat in my trailer and took
a little nap… Someone came up to me afterwards and said, “I
want to tell you that in the lunchroom, nobody touched their food.
Nobody spoke. It was just quiet.” And I was like, “oh, I get it, I
get it!” It’s not just models saying scripted lines, blah, blah, blah.
You’ve always been a true Renaissance man. Beyond acting, what
else do you have in the pipeline?
I have a bunch of shit. I have to be doing a lot of stuff, otherwise
I’d lose my mind. There’s a Daryl video game coming out. I just
got done doing a show in Times Square. I had 20 large-scale photographs—five feet by four feet—that I sold for Oxfam. They’re
all photos of road kill. ∞
Norman: All clothes by DIOR HOMME
Groomer for Norman KRISTAN SERAFINO. Hair for woman JUNYA NAKASHIMA. Model LAUREN BONNER.
Woman:Bra KIKI DE MONTPARNASSE. Shoes LAURENCE DACADE.
76
Louis Vuitton
Caught in Kusama Tentacles
by Abernathy Miller Jordi Constans, Yayoi Kusama & Yves Carcelle, Copy rights Billy Ferrell Images
“Her energy is endless” - MARC JACOBS
Avant-garde artist and TWELV Magazine favorite Yayoi Kusama took Manhattan and the fashion
world by storm this summer, teaming up with legendary design house Louis Vuitton and the Whitney
Museum. Kusama continues to be the talk of the town-her iconic polka dots are sprinkled all over Manhattan’s culture scene, and crazed Kusama fans couldn’t get into the Whitney without waiting in an
endless line. If you don’t believe us, take a stroll down Fifth Avenue and see Kusama’s dotted tentacles
engulfing Louis Vuitton’s flagship storefront.
The 83-year-old Japanese artist has teamed up with fashion’s favorite bad boy, Marc Jacobs to develop an exciting, exclusive line
of handbags, textiles, accessories and others.
“Her energy is endless,” Jacobs said of Kusama. “She was
everything you’d imagine from her work.” This collaboration
brings the vibrancy and charm of Kusama’s work to the Louis
Vuitton brand, and lends the artist the label’s legion of loyal
followers. Kusama made it big in the New York art scene after
moving there from Japan in 1958. She has shown alongside such venerable artists as Andy Warhol, Jasper Johns and Claes Oldenberg.
Much of Kusama’s work carries precocious political and social
statements and defends . “I am pleased to see that such pioneering
activities have come to gain the recognition of society now after
so many years,” she told TWELV in our first issue. She remains
an active force in the art world and continues to produce
work from her studio in Tokyo.
Renewing its commitment to the arts, Louis Vuitton supports
Yayoi Kusama, especially in her recent retrospective at the Tate
78
Modern, which also resided in Madison Avenue’s own Whitney
Museum. The exhibit’s July launch party featured a performance
by Blonde Redhead (also featured in the debut issue of TWELV)
and a guest list including Sofia Coppola, Diane Kruger and
Joshua Jackson.
The line is the latest in Louis Vuitton’s illustrious history of
artist collaborations; the brand has previously partnered with
the likes of Takashi Murakami and Stephen Sprouse, with remarkable success. Kusama’s line combines her iconic dots with the
LV monogram on classic Louis Vuitton silhouettes. The Fifth
Avenue Louis Vuitton flagship store also received the Kusama
treatment; its entire sprawling façade has been covered with
swirling dots in stunning tribute to one of our greatest living
artists. “The lookbook we’ve photographed is really charming and
has the sense of spirit of her work,” Jacobs said. “It’s very much
a true collaboration because there’s the Louis Vuitton monogram and the spots of Kusama – both of them are endless, timeless and forever.”∞
a
woman
is a
woman
Photography Ali Kavoussi
Styling Hissa Igarashi
Hair GIANLUCA MANDELLI @ Creative Management. Makeup SAE RYUN SONG.
IRINA SHAYK @ Women Management. Bracelet, ring VAN CLEEF & ARPELS. Top AZZEDINE ALAÏA.
ANNE VYALITSYNA @ Women Management. Necklace BVLGARI. On eyes DIOR eyeliner. On lips DIOR lipcolor.
SHANNAN CLICK @ Women Management. Necklaces DAVID YURMAN.Top LOST ART.
IZABEL GOULART @ Women Management. Necklace DE BEERS. Corset KIKI DE MONTPARNASSE.
bEhind
THE
SCENES
The camera turns to the imagemakers as models transform
into fashion legends.
Photography SHOJI VAN KUZUMI
Styling HISSA IGARASHI
Left to right
Model BIANCA GITTENS @ DNA Models.
Top, pants Y-3. Shoes BARNEYS NEW YORK.
Model CIARA TURNER @ DNA Models.
Shirt, tie, pants DIOR HOMME.
Shoes ANN DEMEULEMESTER.
Model KELSEY SOLES @ DNA Models.
Jacket Vintage CHANEL @ Albright Fashion Library.
T-shirt GAP. Pants LEVI’S. Shoes NEW BALANCE.
Model BAYLEE SOLES @ DNA Models.
Sweater CLUB MONACO. Jeans LEVI’S. Shoes NIKE.
Model ASHLEY SCOTT @ DNA Models.
Shirt BROOKS BROTHERS. Pants LEVI’S.
Belt PRADA. Shoes NEW BALANCE.
Model LAUREN TAYLOR @ DNA Models.
T-shirts GAP. Pants LOCAL CLOTHING NYC. Shoes NIKE.
Hair SHINGO SHIBATA. Hair Assistant YUKO SUYAMA.
Makeup AKIKO SAKAMOTO @ See Management using
M.A.C cosmetics. Production, casting
MARBLES & MARBLES : SHERRY WANG.
“Rock n’ roll is always suppose
to be an explosion.” -JH
Ten years is a long time for a band to exist. And
for a group as unpredictable as The Kills, a decade might feel as long as the Rolling Stones’ career. Since the early 2000s, the band has released
albums revolving around tension and dark energy, and their live shows are no different. Alison
Mosshart stalks around stage, alternately whispering and howling, while guitarist and singer
Jamie Hince forces pop squalls out of his guitar.
Meanwhile, songs are barely held together by a
chaotic drum machine, with melodies consistently
threatening to spill over the song’s edges.Dream
and Drive, a photo book by Kenneth Cappello,
documenting nine years of the band, captures the
music’s scantly controlled chaos perfectly. TWELV
sat down with the band to discuss its longevity
and the new record.
The theme of this issue is transformation. Ten years in, what
are your thoughts on the longevity of the Kills?
THE KILLS
JH: Rock ’n’ roll is always supposed to be an explosion; it’s
certainly not supposed to be planned for ten years, or thought
out, as to how to keep it going. It’s supposed to be this explosion that dies out, but what happens in real life is that you find
yourself still doing it with a vengeance after ten years. I don’t
want to keep thinking on how we’ll carry on; I want it to explode again, and hopefully, in ten years, we’ll get together and
laugh about how we thought it wouldn’t last another ten years.
JH: Royal Trux was massive for me. One of my favorite
bands—just brilliant. I just like the story, really. They always
just seemed like this invincible two-piece, doing these incredible records. “Accelerator” is this amazing rock/pop record,
and they could just flip it with something like “Twin Infinitives,” and just not give a flying fuck. It’s hard to judge an
influence on your band, but they were definitely in my mind
when we first started the Kills.We actually did a single with
[former Royal Trux frontman] Neil Hagerty, really early on.
It was a version of “Fuck the People” with him playing an
electric shaver solo! It’s unreleased, actually; don’t know what
happened to it! (laughs)
I know that your release schedule is more spread out in 2012.
The Beatles were releasing music every year, but these days, labels want you to release an album every three years…
AM: In a way, it’s old-fashioned that that’s the living you make,
traveling around and playing for people. It’s honest in a way.
But that does get in the way of sitting down and writing and
recording sometimes. I think, back in the ‘70s, there weren’t
that many venues or countries where you could easily slip in
and out and tour, and certainly not as many music festivals.
There are literally thousands now, everywhere. Every weird
city has its own festival. It’s wild. Just doing those alone, you
could spend three years. It’s crazy. People still want to see live
music, and that hasn’t gone away.
Is there a certain atmosphere you enjoy playing in? Clubs versus festivals? Daytime versus nighttime?
AM: I don’t prefer playing in the daytime, ever. I don’t
think that’s conducive to any sort of mystery or beauty. It’s
not my thing. But I do like playing festivals—just at night.
The audience is a massive factor. It could be anywhere and
still be great.
Jamie, you mentioned that you like to settle on a particular
drum sound for each Kills album, whether it’s the live drum
loops from your debut, or the MPC you used on Blood PresI noticed, in your recent sets, that you’re still playing songs
sures. Have you settled on a new drum sound yet?
JH: I’ve always wanted to be a band that changes, to be on from your first album.
Kills Immortal
a journey. It’s an instinct to not settle on something. In my
mind, I really wanted to do this lineup of four drummers, but
now that we’ve done it, I don’t want to carry on doing it. I
want to find the next thing to do. I don’t know why my mind
works like that, because I love bands that roll out the same
stuff sometimes, instead of reinventing themselves...
by GARY CANINO Photography CHEK WU
Mick Jagger famously said that he didn’t want to play “Satisfaction” past age 40.
Chaotic chords continue to erupt, going on ten years of satisfaction.
Black Bananas has been opening for you this tour, so I wanted
to ask about Jennifer Herrema’s influence on the Kills, as well
as the influence of her former band, Royal Trux.
JH: I think a band that has hits is going to have these waves,
with a whole new audience of people, and then another hit,
and so on...We’ve slogged around the world for ten years playing our music, so we really got people on board from doing
that, from playing every city in the world. So when we do
shows, we do have to take into account that different generations of people come on board at different times. We never
play a show where everyone wants to hear our “hit,” and
thank God for that! ∞
AM: Well, he still is! JH: What else could he do?
Styling HISSA IGARASHI. Hair REBECCA PLYMATE using Leonor Greyl @ See Management. Makeup TAMAH K @ See Management using
Koh Gen Do cosmetics. Production, casting MARBLES & MARBLES : SHERRY WANG.
From left to right Jamie: Jacket SOUTH PARADISO. Alison: Jacket EQUIPMENT. T-shirt BESS NYC. Necklace ANNELISE MICHELSON, PROJECT 9.
91
HOT
CHIP
I (We Still) FEEL BETTER
By AARON LINDENBERG
Photography DAWIDH ORLANDO
Slightly campy and undeniably dance-y, London’s Hot Chip has ushered
in the nu-80’s dance music revival for more than a decade. Now, with their
sixth full-length, In Our Heads, the ever-transforming quintet tops off
their cocktail of achingly personal synth symphonies. We spoke with Alexis
Taylor and Joe Goddard at the head of their international tour about the
inspirations for their electro orchestrations.
Hot Chip is both an outlet for songwriting and an exploration in music technology and sound manipulation. When
you’re creating new material, what’s the interaction between
composition and synthesis?
instruments or sounds that feel exciting to you. By the same
token, by working together you come into the middle of
someone else’s idea and you can engage with it. It’s about
different things fitting together or finding things that don’t
fit together and putting them together anyway.
Joe: When we’re writing music, ideas come from the technology that we’re using to write. New synthesizers or
drum machines present you with ideas and inspire you,
they give you a burst of energy or excitement that leads
to songwriting.
What are some non-musical inspirations of yours?
J: Family. In a very obvious way, there are things very directly related to my family, children and wife on the last two or
three records. Actually on the first album there’s a track that’s
dedicated to my wife who was then my girlfriend.
A: I’m inspired by people and being alive in the world, not
Alexis: Maybe something that we don’t think of as modern
technology as well, like different bits of ethnic percussion
“Coming On Strong in their fourth album, HOT
CHIP still manages to be stuck In Our Heads.”
just other records. We’re not restricted to just listening to
music. Having said that, music is the main thing that we
spend our time thinking about and obsessing over. Sometimes it’s hard to even step outside of that world.
By now, you’ve played several major festivals and large venues.
Is touring your music an entirely different experience than
recording it?
J: We treat them in quite different ways. In writing our
music, Alexis and I get together or we develop ideas individually and send them to each other. When it comes to
playing those tracks live, we don’t try to imitate the record,
we allow the songs to be played differently, by different
people using different instruments. You do have moments
where you’re playing on stage and the joy and excitement
of playing together gives you ideas for recording.
It seems transformation plays a central role for the group:
Alexis has a solo album, film scores, and a side project,
About Group. Al Doyle was in LCD Soundsystem and
New Build, and Joe Goddard plays with The 2 Bears.
You’ve also hosted a slew of guest members, and jumped
labels. What keeps Hot Chip together through the changes?
A: The core of the group is a love of making music together. It’s been going on for years and years. It doesn’t feel
threatened by the fact that you’re doing other things. It’s
something we’ve invested a lot of time and energy in, making it as good as it could possibly be. We’re committed to it.
J: Before all these changes, the band’s existed for a few
years back at school. There’s always been a flux. For the
last ten years, there’ve been five people involved that we
feel very attached to. That was the nice thing about making this last record, everyone made time for it and came
back together to do it, and it was a joyful thing. It’s very
healthy for people to do other stuff aside from that.
The name “Hot Chip” (meaning, literally, hot French fries)
originated as a knee-jerk response to someone asking what
you call yourselves. The name has stuck; do you think it’s
gained any sort of significance?
A: I think it’s just a stupid phrase and we’ve got away with
having it for years and years. People have to print it and
write it on walls now. It doesn’t have any greater meaning
now and it didn’t have any then.
J: It’s evidence of the silliness of Hot Chip.∞
Production, casting MARBLES & MARBLES : CHIKA FISSEL. Sunglasses JEREMY SCOTT by LINDA FARROW PROJECTS.
92
MOTIVE
FLAMES FROM THE EDGE
Photography JACOB SADRAK Styling HISSA IGARASHI
Bushwick-dwelling, Williamsburg-kvelling garage-pop quartet Motive originally shed
their respective hometown cocoons—three from Seattle and one from New Jersey—for
New York, the city they profess to “see as the center of culture and music.” Says band
member Nick Wold, “We played jazz in Seattle when we were kids. We’ve grown up,
come to New York. It’s just a whole ‘nother life, whole ‘nother thing.” Many of the band’s
usual concert venues, which include windowless Williamsburg warehouse Glasslands
and Lower East Side haunts Santos Party House, Pianos and Mercury Lounge, are
in neighborhoods that themselves have undergone a metamorphosis during the past decade. Arguably part of growing up and coming to New York, to further the whole cocoon
metaphor, is shedding one’s wardrobe chrysalis for sleeker, more refined threads. As part
of this spread for Twelv, Motive was transformed into not-quite-elder New York statesmen befitting the streets of Soho; erring more toward the pop than the garage within their
hyphenated subgenre. Albeit many of the shots were taken in a Bushwick garage, a site
of dirty, trippy ooze that provides the perfect visual foil for the band’s sparkly cover of
Talking Heads’ “Psycho Killer,” which Twelv commissioned for this shoot.
Motive’s changes to the New Wave classic include a wash of reverb over the opening riffs, which give way
to an interpretation that veers toward freestyle. The verses hover sotto voce in a zone somewhere between
song and speech, not unlike recitative operatic singing. The second verse changes up the melodic pattern
by a few notes, to burst into a flowing guitar riff over the French section. As for the rhythm, “we tried to
dirty up the drums,” says Wold. Motive ends “Psycho Killer” with a psych-rock twist, taking cues from
Talking Heads’ live performances back in the day, and from an improvisational standpoint, the members’
jazz background. The band often performs covers during its shows, including “Comfortably Numb” by
Pink Floyd and “Paranoid Android” by Radiohead. “We like to stay original to the true song,” opines
Wold. “It seemed like the live version I saw on YouTube, where they kind of do this live version drum
scene at the end. So we just wanted to do that in our own way.” Brand-new Motive: qu’est-ce que c’est? ∞
by ANNE SZUSTEK
Hair TETSUYA YAMAKATA @ de facto. Makeup KUNIO KATAOKA. Models JESSICA@ KB management.
CLAIRE @ Colby Models, SARAH@ KB management.
Production, casting MARBLES & MARBLES: BRENDA ARMENDARIZ.
All Men’s clothes on MOTIVE by DIOR HOMME.
95
MNDR
eagles of death metal
JESSE HUGHES: Rock ‘N’ Roll Sorcery
by Emily Kirkpatrick Photography MALIA JAMES
Photography JEROME CORPUZ Styling HISSA IGARASHI.
Cloaks, crystals, and pentagrams are no match for the wizarding world of Jesse Hughes
The Eagles of Death Metal front man, Jesse Hughes makes
deals with the devil, transforms into a rock ‘n’ roll werewolf under the full moon, and sports a handlebar moustache better than any 70s porn star. But Hughes, who has
just ventured out on his first solo mission, Boots Electric,
is actually much deeper than his rocker-hillbilly persona
would have you believe. After only a few minutes on the
phone with Jesse, it quickly became clear that he’s totally off
the wall, up for a laugh at his own expense, and has a big
heart that shines through in everything he does.
The typical MNDR concert delivers a range of emotions. “I think [it’ll] do everything from [make you]
dance to, hopefully, bring you to tears.” Amanda Warner, the bleach blonde, bespectacled artist behind
electronic music group MNDR (a play on Warner’s
name), may still be a relative newcomer to the pop
music scene, but the young singer has already worked
with some incredible names in music over her thirteen
year career as a touring musician, from Boy George, to
Mark Ronson, to Ghostface Killah. With all that experience already under her belt and two years having passed since her much buzzed-about debut EP,
TWELV sees big things in the works for this self-professed nerd. With the release of her first full-length
album, Feed me Diamonds, released by Ultra on August 14th, MNDR is poised to make a splash in the
electronic scene, but Warner simply hopes that her album allows her to better connect with all of her fans.
The album’s title comes from artist Marina Abramovic’s claim that her father was slowly murdered by being fed finely ground diamonds. Warner explains that
she’s drawn to strong, spirited women like Abramovic
because, “something that’s missing in music today is
controversy,” and “we’re so concerned with branding
and corporations now that we forgot music’s like the
rebel yell.” With the long awaited debut of MNDR’s
Feed Me Diamonds, you can expect that yell to turn
into a full-on ROAR. ∞
Hair ELSA for Shu Uemura Art Of Hair. Makeup KUMA. Production, casting MARBLES & MARBLES :
BRENDA ARMENDARIZ. Jacket MUUBAA. Top R/H.
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And he goes, “Excellent, let’s try it.”
You’ve been nicknamed “The Devil,” do you think the title suits you?
I’ve been a Southern Baptist church-going man, I don’t
believe in magic talking monkeys yet, still, I’m here shaking my
dick with the devil in the dark.
Tell me about one of your favorite moments on tour?
The first time that I got to take [girlfriend and Boots Electric band
mate] Tuesday Cross in-between two tour buses and demonstrate biblical knowledge to her in a sense that she had never yet experienced.
TWELV summoned “The Devil” himself to discuss how he rocks so hard
What made you decide to do a solo album?
and makes it look so easy.
Well, one night me and my cousin were channeling evil spirits and
we used a particularly old spell, and we manifested the devil himWhat drew you to music and how did you get your start?
My mother wouldn’t let me play any instrument even remotely self and he told me directly that I had to make an album, I had to
connected to rock and roll, so I settled on the flute and believe me, call it Honkey Kong, I had to meet Money Mark; and so I did it
it sucked. But, I guess it gave me an ear for music a little bit differ- because the devil told me to.
ently, you know?
So where did the name Eagles of Death Metal come from?
The Eagles of Death Metal was actually started by accident. This
guy was fucking rocking out to [The Scorpions’] Winds of Change
and we were all making fun of him. He noticed, and came up to me
and said, “What the fuck’s wrong with you? This is death metal!”
And Joshua [Homme, of Eagles of Death Metal and Queens of the
Stone Age] and I went, “What? This is like the fucking Eagles of
death metal!” And it really must have gotten to Joshua because the
next morning, I opened up the door and Joshua was there, blearyeyed, and he goes, “Dude what would The Eagles of death metal
sound like?” And I’m like, “I don’t know, like The Zombies — sort
of cool, like jazz beats with stripper…uh, hillbilly fuckin’ music?”
You have a very unique style, sort of a 70s porn star vibe, have you
ever considered shaving the moustache?
The moustache has never considered letting me shave it.
I know that the Eagles of Death Metal support a number of different
causes, do you, personally, support any charities?
One of my big charities is Shelter from the Storm, a battered women’s recovery network that helps women reclaim their lives after
being devastated by abusive men. I just did my very first benefit,
organizedand spearheaded by me. A local musician’s leg was broken and Music Cares got involved, reduced his bills, and we held a
benefit show. Even though I’m dead tired, I still went and did this
because I want a shot at getting into heaven.∞
CONAN
Photography MARIA KARAS Styling Hissa Igarashi
All clothes by MIU MIU
Hair ADRIAN CLARK @ The Wall Group using Original & Mineral. Makeup WALTER OBAL @ Atelier. Model TAYLOR FOSTER @ Women Management.
Production, casting MARBLES & MARBLES: SHERRY WANG.
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Jacket,Shirt STELLA MCCARTNEY.
On hair L’OREAL PARIS hair spray.
Photography CHEK WU
Styling HISSA IGARASHI
Dress AZZEDINE ALAÏA.
Shoes IRIS VAN HERPEN.
Belt PATRICIA VON MUSULIN.
Tights WOLFORD.
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MARY ELIZABETH
WINSTEAD
Style Songs AND Cinema
Introduction by Kathleen Sharpe Interview by Rawdah Al Naimi
Rocky Mount’s claims to fame include being the location of the first post office and housing
one of the first cotton mills in North Carolina. So, how does a girl from Tar Heel
tobacco country become a triple threat movie star? Mary Elizabeth Winstead reveals
a fierce heart and passion for her art, as her career prepares to pounce into high gear.
You are starring in “Smashed”, a film about a married couple incredible and liberating experience with “Smashed”, but
whose bond is built on a mutual love of alcohol. Tell us more I’d be happy to jump back into bigger budget films as well,
so long as I maintain my focus on filmmakers. I want to work
about your role as Kate Hannah.
On the surface, Kate is a smart, put-together young teacher
who’s really passionate about her job and her marriage. But,
throughout the course of the film, it becomes clear to her
just how much the drinking is affecting her and just how
unhappy she truly is.
with people who inspire something in me personally, rather
than worrying about what an audience is going to respond to.
You recently performed at Rock the Bells Festival. Will we
see you more in music?
I think you will. I’ve been working on an album with Dan
the Automator for some time now. It’s very much a side
I had to be brutally honest with myself about my own life project for both of us, which means there is no way to tell
and problems because I couldn’t play this part unless I how long it will take us to finish, but it’ll get done. I’m excited
found that string that connected me to Kate and her struggle. about the work we’ve done so far.
Once I found it, the floodgates opened and it all became
You have an impeccable sense of style. How do you choose
almost effortless.
Did you face any obstacles along the way?
what you wear for events?
How are you similar and different to your character in My tastes have definitely shifted over the years. I’ve always
had an affinity for vintage, but as I get older, I’m feeling the
“Smashed”?
James, the director, wanted me to bring as much of myself
to the role as possible. [Kate’s] sense of humor and her
mannerisms are more me than any other character I’ve portrayed.
At the same time I was terrified because, at first, her struggles
seemed completely unlike mine. But, when I pulled back a
few of the layers, and when I started visiting AA meetings
and speaking with people in recovery, I realized how deeply
I related to her.
urge to keep it simple. I think, at this point, I’d say the style
I aspire to is minimalist chic with a touch of vintage flair.
You have a busy year ahead of you. Can you tell me about
your upcoming projects?
I’ve been very busy lately, mainly working with friends in
supporting roles in various independent projects. I have a
comedy with Adam Scott called “A.C.O.D.”, and I also have roles
in the upcoming Roman Coppola film, “A Glimpse Inside
Many films indulge the dramatic highs and lows of addiction. the Mind of Charles Swan”, as well as “The Spectacular Now”,
directed by James Ponsoldt, who directed me in “Smashed”.
From your point of view, what sets “Smashed” apart?
What connects people with “Smashed” is seeing how easily
their lives could be just like Kate and Charlie’s. It makes How important to you is philanthropy, and are there charity
people question themselves and what their own addictions are. organizations that you are currently involved with?
In addition to being a huge animal rights activist, I have
Being featured in Sundance Film Festival provides a massive been involved with The Humane Society and Compassion
career boost. How has your career changed since Sundance? International my whole life. One movement I love is Miss
It’s been wonderful. I did this film to prove something to Representation, which deals specifically with women and
myself, but as a result I feel like, in many ways, I’ve proven the media, and the actions we can take to make a change.
myself to my peers and people throughout the industry. I Food Forward is another wonderful example—groups of
people get together and spend a day picking fruit in an oradmit that that’s a pretty great feeling.
chard for those in need. There is always a pick going on
somewhere in L.A., and you can easily sign up and take
Cinematically, what things do you feel you haven’t done?
I’d like to dig deeper into indie film, since I had such an part. It’s a great way to spend the day. ∞
Hair ROB TALTY @ The Magnet Agency. Makeup MAI QUYNH. Manicurist ELISA WISHAN@ Mobelisa.com for Nubar.
Digital INDUSTRIAL COLOR. Right page: Blouse, pants VIKTOR & ROLF. Bracelet CARTIER. Belt LOST ART.
This page: Dress IRIS VAN HERPEN. Right page: Jacket, dress ROBERTO CAVALLI. Necklace PATRICIA VON MUSULIN.
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Dress AZZEDINE ALAÏA.
Ring CARTIER.
On lips M.A.C cosmetics.
On hair L’OREAL PARIS hair spray.
Cardigan, skirt, belt HERMÈS.
Shirt Vintage DOLCE & GABBANA.
Ring CARTIER. Tights WOLFORD.
The
Virgin
Suicides
Photography SILJA MAGG
Styling SAYURI MURAKAMI
Left to Right
Model OLIVA ROSS @ Next Model Management.
Top BOY. BY BAND OF OUTSIDERS. Pants SEA.
Model MATTA MATTHIASDOTTIR@Women Direct.
Dress KAREN WALKER. Model KRISTINE FROSETH
@ Supreme Management.Top JIL SANDER NAVY.
Skirt BOY. BY BAND OF OUTSIDERS.
Model JORDYN GRAE @ Marilyn Agency. Dress GIRL.
BY BAND OF OUTSIDERS.
Hair CHRISTOPHER NASELLI. Makeup CHICHI
SAITO @ B Agency NY using M.A.C cosmetics.
Production, casting MARBLES & MARBLES :
SHERRY WANG. Location
Felton Morgan of Weichert Realtors.
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BOYS
DON’T
CRY
Photography CHAMA
Styling HISSA IGARASHI
VALERIA DMITRIENKO @ Women Management.
Jacket, scarf WHAT GOES AROUND COMES AROUND. Hat PARAGON SPORTS. On eyebrows L’OREAL PARIS eyebrow pencil. On hair L’OREAL PARIS hair cream.
114
REGINA FEOKTISTOVA @ Supreme Management
Coat, pants HAIDER ACKERMANN.
T-shirt SEARCH & DESTROY. Skateboard
GERLAN JEANS. Shoes VANS.
LILIANE FERRAREZI @ IMG Models.
Top AZZEDINE ALAÏA. Boxing glove ECLECTIC ENCORE.
116
MILANA KRUZ @ Women Management.
Jacket BESS NYC. Denim vest LEVI’S. On hair L’OREAL PARIS hair spray.
118
AMELIA POOL @ IMG Models.
Coat A.F. VANDEVORST. Denim jacket SCREAMING MIMI’S.
RANYA @ Ford Models.
Sweater JEREMY SCOTT. Shirt WHAT GOES AROUND COMES AROUND. Tights WOLFORD. Comic book ST. MARK’S COMICS.
NICOLA WINCENC @ Re:quest Model Management.
Coat MICHAEL KORS. Shirt WHAT GOES
AROUND COMES AROUND. Skirt SEARCH &
DESTROY. Pants TRASH AND VAUDEVILLE.
Shirt around the waist LOCAL CLOTHING NYC.
Shoes NEW BALANCE for J.CREW.
REGINA FEOKTISTOVA @ Supreme Management.
Coat, shirt, hat RALPH LAUREN. Tie RAG & BONE. On eyes ESTEE LAUDER Mascara. On skin ESTEE LAUDER Face powder.
Left: MILANA KRUZ @ Women Management. Right: LILIANE FERRAREZI @ IMG Models.
Jackets STEVEN ALAN. On skin LANCOME Skin corrector.
NICOLA WINCENC @ Re:quest Model Management.
Jacket TRASH AND VAUDEVILLE.
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RANYA @ Ford Models.
Jacket, vest ANN DEMEULEMEESTER.
Top, studded choker, shoes TRASH AND VAUDEVILLE.
Cross necklace PATRICIA VON MUSULIN.
Tights WOLFORD. Shorts TITANIA INGLIS.
LILIANE FERRAREZI @ IMG Models.
Jacket, shirt, pants STELLA MCCARTNEY. Large cross necklace CHROME HEARTS. Small cross necklace CHRISHABANA. Scarf ALBRIGHT FASHION LIBRARY.
KYRA GREEN @ IMG Models.
Necklace DAVID YURMAN. Vest WHAT GOES AROUND COMES AROUND. Rings THE GREAT FROG. Pinky ring CHRISHABANA.
AMELIA POOL @ IMG Models.
Hoodie Y-3. Football gear ECLECTIC
ENCORE. Tank top ADIDAS SLVR.
Underwear CALVIN KLEIN
Underwear.Wristband NIKE.
Left: NICOLA WINCENC @ Re: Quest Model Management. Jacket DIOR HOMME. Gloves LACRASIA GLOVES. Necklace BVLGARI.
Right: REGINA FEOKTISTOVA @ Supreme Management. Jacket PEDRO LOURENCO.
Hair SEAN MIKEL @ The Magnet Agency. Makeup MIN MIN MA @ See Management.
Production, casting MARBLES & MARBLES : LOUISE GRAHAM.
NEXT TOP MODELS
NEW YORK COLLEGE GIRLS
Photography Jerome Corpuz Styling SAYURI MURAKAMI
Who wouldn’t want to be a supermodel for a day? TWELV gave four beautiful college students
a chance to live the dream. We searched far and wide, across the five boroughs of New York City,
for the most beautiful and intriguing female students to be made over and featured in our “Transformation” issue. Of the many applicants, just four were chosen, each representing a different
university. Our challenge was to take an everyday college girl and transform her into her total
opposite. The results of these transformations are amazing – we hope you are just as surprised!
Hair ADRIAN CLARL@Wall Group using Original Mineral. Makeup AYA KOMATSU@ de facto. Production, casting MARBLES & MARBLES.
WILLA DEAN
ELLE LOOW
Stony Brook University
Fashion Institute of Technology
CHARLOTTE O’DONNELL
BETH CUNNINGHAM
Hunter College
New York University
Hometown?
Hometown?
Hometown?
Hometown?
Any random facts about you that others would find surprising?
Favorite blogs ?
Earliest fashion memory?
If you could transform into anything, what would it be?
At what time in your life did you feel the most fashionable and
fabulous? During your childhood, adolescents, at a Britney
Spears concert, etc?
If you could switch wardrobes with anyone in this world, who
would it be?
Time of your life that’s the least fashionable/most embarrassing?
At what time in your life did you feel the most fashionable and
fabulous?
Brockport, NY
I’m a total nerd!
I’ve never felt as fashionable as I did during this photo shoot!
Gothenburg, Sweden
Man Repeller, Style by Kling, Jak & Jil, The Sartorialist, and
altamiranyc
Anna Dello Russo.
Favorite Blogs?
Where do you want to be right now?
If you could switch lives with anyone who would it be?
If you could switch lives with anyone who would it be?
Coat, shirt JIL SANDER NAVY.
Jacket ARMANI EXCHANGE. Blouse GUESS.
Skirt JAC LANGHEIM.
A Beautiful Mess by Elsie and Emma.
The President, but for one day only, so that maybe I could understand what it feels like to really have the world resting on
your shoulders.
In my boyfriends arms and in Tokyo.
Anna Wintour, to feel how it really is to rule the fashion world.
East Aurora, a suburb of Buffalo, NY.
Cher’s amazing high tech closet in Clueless.
Freshman year of high school. I had a pair of puffy pink Etnies
skate shoes.
Manchester, Massachusetts
Royalty!
7th grade, at the line waiting to see Jessica Simpson.
Favorite song or most played song right now?
Any favorite blogs you follow religiously?
If you could switch wardrobes with anyone, who would it be?
If you could switch lives with anyone who would it be?
Trench G-STAR. Sweater Y-3. Skirt LOST ART.
Tights WOLFORD. Ring PATRICIA VON MUSULIN.
Jacket SKINGRAFT. Dress THEYSKENS’ THEORY. Bra GUCCI.
Shorts ALBRIGHT FASHION LIBRARY. Shoes PACO RABANNE.
Earrings PATRICIA VON MUSULIN.
Sugar Walls by Sheena Easton.
Kate Moss.
Betches love this site
I’ve spent 21.5 years in working on this life, wouldn’t really feel
like switching it.
T
TRANS
FORM
ERS
Photography Chek Wu
Styling Hissa Igarashi
132
Bodysuit SOMARTA.
Jacket HOGAN MCLAUGHLIN.
Harness NORISOL FERRARI.
Shoes SOMARTA x
NORITAKA TATEHANA.
Leather Jacket, Skirt AZZEDINE
ALAÏA. Long coat ACNE.
Jacket (outside) MUGLER.
Leggings TRASH AND VAUDEVILLE.
Shoes PIERRE HARDY.
Gloves LACRASIA GLOVES.
Tall guy JASON LILIES.
Dress HOGAN MCLAUGHLIN.
Earrings PATRICIA VON MUSULIN.
134
Jacket,Shirt STELLA MCCARTNEY.
On hair L’OREAL PARIS hair spray.
This page: Jacket vintage thierry mugler @ WHAT GOES AROUND COMES AROUND. Corset THE BLONDS. Leggings AMERICAN APPAREL.
Shoes SOMARTA x NORITAKA TATEHANA. Earrings PATRICIA VON MUSULIN. Gloves LACRASIA GLOVES.
Right page: Vest PRADA. Coat ACNE. Top PEDRO LOURENCO.
Left page: Dress ALBERTA FERRETTI. Corset dress TRASH AND VAUDEVILLE. Ballet Dancers PAOLO CERVELLERA, WILLIAM-MICHAEL COOPER.
139
Hoodie, scarf ISSEY MIYAKE.
Bracelet BVLGARI.
On lips DIOR Addict.
On skin DIOR foundation.
Jacket, vest JUST CAVALLI.
Pants TRASH AND VAUDEVILLE.
Top PEDRO LOURENCO.
Shoes SOMARTA x
NORITAKA TATEHANA.
Gloves LACRASIA GLOVES.
Tall guy JASON LILIES.
Coat JEAN-CHARLES DE CASTELBAJAC.
Jacket BESS NYC. Leggings
TRASH AND VAUDEVILLE.
Shoes SOMARTA x NORITAKA TATEHANA.
Earrings PATRICIA VON MUSULIN.
Gloves LOCAL CLOTHING NYC.
This page: Pants STELLA MCCARTNEY. Jacket TRASH AND VAUDEVILLE. Poncho WHAT GOES AROUND COMES AROUND Gloves LACRASIA
GLOVES. Shoes PIERRE HARDY. Earrings PATRICIA VON MUSULIN. Left page: Shirt PRADA. Jacket WHAT GOES AROUND COMES AROUND.
Leather overall dress JEREMY SCOTT. Earrings PATRICIA VON MUSULIN. Hair MICHAEL SILVA. Makeup JUNKO KIOKA@Joe Management.
Model RIANNE TEN HAKEN @ Women Management. Production, casting MARBLES & MARBLES: LOUISE GRAHAM, SHERRY WANG.
Coat STELLA MCCARTNEY.
Bodysuit TRASH AND VAUDEVILLE.
Earrings, necklace PATRICIA VON MUSULIN.
Gloves LACRASIA GLOVES. Male models
RICARDO FIGUEIREDO, VAL DOLEZAL
@ Re:quest Model Management.
Dress BOTTEGA VENETA.
Jacket TRASH AND VAUDEVILLE.
Gloves LACRASIA GLOVES.
Shoes PIERRE HARDY.
RACHAEL
TAYLOR
Photography MICHAEL FLORES
Styling DIANNA LUNT
As Rachael Taylor is relaxing onto the
hood of a taxi and slinking hither and yon
on set, I’m wondering how such an effortlessly stunning woman could possibly be
this down-to-earth. The Tasmanian beautyturned-Transformers starlet is excited for
the premier of her upcoming television
series, “666 Park Avenue,” on ABC. As
Rachael got dolled up for her shoot with
TWELV she chatted with me about crossing
the ocean to begin work on American titles
while remaining true to her Australian roots.
“I have made some
very distinct
career choices
to not be famous.
I avoid classic
maneuvers that
shoot you to the
top, I guess.”
What was it like growing up in Tasmania?
It was amazing! Tasmania is a whimsical place, in a way. It’s
unlike the rest of Australia; it’s quite private. Parts of it are
still untouched; it feels very sparse. I haven’t traveled in the
U.S. extensively, but I’ve seen parts of Northern California
that are sort of like it. But nothing really compares. I love being
from Tasmania, I still try to actively support Australian film.
For every movie I do in the U.S., I try to go back home and
do one.
Did you always want to go into show business?
I just wanted to move away from home and go to a city. I
wanted to escape, I guess. Maybe I was a natural performer,
in some way. Growing up where it’s so isolated, I always had
imaginary friends. Or, maybe, I just wanted to be famous
when I started. But that has sort of changed; I have made
some very distinct career choices to not be famous. I avoid
classic maneuvers that shoot you to the top, I guess.
“Transformers” was your first real acting gig. What was that
like? It was a premature moment, I think. I had been in L.A.
only nine days when I booked the job. It was a lot for someone
who was 21 and had just come from a place like Tasmania.
Making a movie of that caliber is a huge machine; it was
intimidating. I think that’s why I like working in television
so much—I like change, and being able to build relationships
with the crew, the writers and my costars. There is an intimacy
to it.
Tell me about your upcoming television show.
I’m in a one-hour drama for ABC called “666 Park Avenue”.
It’s kind of a soap with a supernatural spin. It asks you how
far you would go to get what you want. I think the writers
really invested in keeping it creepy, referencing Hitchcock
films and “The Shining”, while still keeping it appropriate for
Sunday night. I think they pulled it off!
How has the Hollywood experience transformed you?
A “Transformer” transformed. Tasmanian starlet Rachael Taylor
channels her satanic side for ABC’s new series, “666 Park Avenue”.
by Abernathy Miller
It took me a long time to grow up, so I am actually glad my
career has been more slow and steady than an overnight
explosion. I’m really grateful that I get to be a career actor, but
I’m also excited about my life after my acting career.
What’s next for you?
Ha! I never really had much of a plan in the beginning, and I
still don’t have much of a plan. I write a lot, so maybe I will do
something with that. ∞
This page: Coat, bra, shoes 3.1 PHILLIP LIM. Skirt STELLA MCCARTNEY. Left page: Bra 3.1 PHILLIP LIM. Bracelet CARTIER. On lips M.A.C lipstick. On eyes M.A.C eye shadow.
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This page: Dress VICTOR DE SOUZA. Gloves LACRASIA GLOVES. Right page: Leather jacket ALL SAINTS. Bra ONLY HEARTS.
Skirt MARC JACOBS. Bracelet, necklace CARTIER. Sunglasses MERCURA. Shoes VALENTINO.
Hair CREIGHTON BOWMAN. Makeup TINA TURNBOW. Production,casting MARBLES & MARBLES: BRENDA ARMENDARIZ.
ALEXANDRA
ROACH
Alexandra Rising
First the “The (young) Iron Lady” and now “Anna Karenina”, Roach is a star in the making.
By Kathleen Sharpe Photography REBECCA MILLER
“I get to dress up and
play, every day. What’s
there not to love?!”
There is a quiet peace in Alexandra Roach. She is focused
and charismatic beyond the shadow of a doubt, but there is
a centered poise in her presence. This maturity and gentle
calm carried over into her outstanding performance as
Margaret Thatcher in 2011’s The Iron Lady, and conveyed
the calculated charm of the Countess Nordston in “Anna
Karenina.” She sat down with TWELV to talk about her
budding romance with feature films, and how roles set in
the past are transforming her future.
What is the biggest professional or personal transformation you’ve undergone? Which transformation
was your favorite?
What was your biggest challenge in preparing for
your role as Countess Nordston?
I had almost 5 weeks dance rehearsal for the film.
It was SO difficult, but I got there in the end! “The Iron Lady” was my first feature film, so the
stakes were high. Playing Margaret Thatcher will
always be very dear to me. It required a big transformation, especially physically. Personally, I became
fascinated by the woman, as well as with her
strength and ambition. Tell me a bit about this particular time in your
career. You had a massive breakthrough with
“Iron Lady,” and now with “Anna Karenina.”
Do you feel like you’ve “made it”? What kinds of
changes are happening in your life, as you grow
with your career?
You went to The Royal Academy of Dramatic Arts.
As someone who comes from a performance background I always think it’s incredible when a former
classmate actually breaks into the industry. Do you
keep in touch with your classmates?
I’m very much enjoying this time, but I don’t at
all feel like I’ve “made it.” As to change, so far
I just feel a little busier! Mostly, I want to keep
learning my craft, and even though I don’t have
much time for acting classes, I’m learning off the
other actors I work with in my different projects.
My time at RADA was important as I was learning in
a very pressured atmosphere with a group of people
all wanting to be the best. I have one or two very
dear friends from college, but most of my best
buds are non-actors, and I’ve known them since I
was four, growing up in Wales! If you could transform into any object, location, animal—anything at all—what would it
be, and why?
It would be my little dog Ronnie Barker. He is a
miniature dachshund puppy and makes me laugh,
however hard a day I’ve had. Did you have to read Anna Karenina in school?
Did you ever think you’d like it as much as I’m sure
you do now?
We never studied Anna Karenina in school, and
I had always meant to read it. But, playing the
Countess forced me to finally crack the book’s
spine. It’s a wonderful story, and I got completely
lost in it.
Why do you love your work?
I am blessed to be doing what I’ve always dreamt
of. I get to dress up and play, every day. What’s there
not to love?! ∞
Styling ELLIE LINES @ Frank Agency. Makeup KOLBRUN RAN @ Frank Agency using Youngblood cosmetics. Shirt PAUL & JOE. Necklace DANNIJO.
Jeans J BRAND @ OXYGEN BOUTIQUE. Thank you to Linda Muddiman Rose and Stephen Rose for the location.
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Tiny Dancer
Photography CHAMA Styling HISSA IGARASHI
Hair JUNYA NAKASHIMA. Makeup WALTER OBAL @ Atelier. Model OLGA CERPITA @ One Management.
Jacket, dress, pants, shoes LOUIS VUITTON. Socks SOCKMAN.
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Jacket, top, skirt, shoes AZZEDINE ALAÏA. Socks SOCKMAN. Cake, macaroon art DYLAN AMUMAN ARTISTIC DIRECTION.
Production, casting MARBLES & MARBLES: BRENDA ARMENDARIZ.
Used to
LOVE her
Photography SILJA MAGG
Styling HOLLY SUAN GRAY
From left to right Michael: Leather jacket TRASH AND VAUDEVILLE. T-shirt ALEXANDER WANG. Jeans G-STAR. Avalon: Sweater SCREAMING MIMI’S.
Jeans LEVI’S. Bracelet SUGAR SCOUT. Andrea: Denim jacket SCREAMING MIMI’S. T-shirt CALVIN KLEIN JEANS. Jeans J BRAND.
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From left to right Michael:
Denim jacket, jeans G-STAR.
T-shirt CALVIN KLEIN JEANS.
Shoes CONVERSE. Avalon:
Coat 3.1 PHILLIP LIM. Vest, jeans
LEVI’S. Tank JOSE DURAN.
Shoes DR.MARTENS. Andrea:
Denim jacket BESS NYC. T-shirt
ALEXANDER WANG. Jeans
J BRAND. Shoes DR.MARTENS.
From left to right Michael:
Leather jacket BURBERRY BRIT.
T-shirt CALVIN KLEIN JEANS.
Jeans G-STAR. Shoes DR.MARTENS.
Andrea: Leather jacket TRASH
AND VAUDEVILLE. T-shirt
ALEXANDER WANG. Jeans
J BRAND. Shoes DR.MARTENS.
Avalon: Dress RAFAEL
CENNAMO. Jacket ROBERTO
CAVALLI. Earrings LARUICCI.
Gloves LACRASIA GLOVES.
This page: Coat DOLCE & GABBANA. Gloves LACRASIA GLOVES. Sunglasses MERCURA NYC. Tights WOLFORD. Shoes VIKTOR & ROLF. Right page: From left to right
Andrea: Denim jacket LEVI’S. T-shirt ALEXANDER WANG. Jeans J BRAND. Avalon: Dress SORAPOL. Earrings LARUICCI. Shoes ALBRIGHT FASHION LIBRARY.
Michael: Leather Jacket BURBERRY BRIT. T-shirt CALVIN KLEIN JEANS. Jeans G-STAR. Shoes DR. MARTENS.
This page: Dress, earrings DOLCE & GABBANA. Jacket TRASH AND VAUDEVILLE. Shoes VIKTOR & ROLF.
Left page: Jacket Y-3. Jeans J BRAND. Hat WHAT GOES AROUND COMES AROUND.
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This page:Dress BOTTEGA VENETA. Bracelets LARUICCI. Shoes JEAN MICHEL CAZABAT.
Right page: Leather jacket BURBERRY BRIT. T-shirt CALVIN KLEIN JEANS. Jeans G-STAR. Shoes DR.MARTENS. Belt Local clothing nyc.
Hair CASH LAWLESS. Makeup WALTER OBAL @ Atelier. Models AVALON @ IMG Models, ANDREA B. @ Wilhelmina Models,
MICHAEL PROSKEY @ Next Models.Production, casting MARBLES & MARBLES: BRENDA ARMENDARIZ, CHIKA FISSEL.
From left to right
Andrea: Jeans J BRAND. Hat
WHAT GOES AROUND COMES
AROUND. Shoes DR.MARTENS.
Michael: Jeans G-STAR. Shoes
DR.MARTENS.
My Stepmom Is An Alien
Photography JASON KIM Styling HISSA IGARASHI
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This page: Jacket AZZEDINE ALAÏA. On eyes REVLON eyeshadow. On hair REVLON hair spray. Left page: Shoes AZZEDINE ALAÏA.
Hair JENNIFER BRENT. Makeup MUNEMI IMAI. Model IRINA DENISOVA @ Supreme Management. Production, casting MARBLES & MARBLES.
NIKITA
Photography THOMAS COOKSEY
Styling SAM RANGER
Dress CHRISTOPHER KANE, shoes TABITHA SIMMONS.
This page: Dress PRINGLE. Right page: Leather jacket, kilt LOEWE. T-shirt ACNE. shoes TABITHA SIMMONS.
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This page: Waistcoat, shirt PRADA. Left page: Jacket HUSSEIN CHALAYAN. Make up ZOE TAYLOR @ Jedroot. Hair teiji utsumi@terrie tanaka using KMS California.
Model CHARLOTTE WIGGINS @ Select Models. Photographers assistants: BENJAMIN MADGWICK + JIM AGNEW. Retouching ART MEDIA PARTNERS.
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Fire & ICE
Artist OLAF BREUNING
Photography David Schulze Styling Hissa Igarashi
Like the asteroid named after him, Johnny Weir shoots
into Sochi and the pages of TWELV. While figure skaters
in America don’t usually carr y the kind of name
recognition of, say, Eli Manning or Venus Williams,
one skater has captured millions of fans, vaulting him
into the ranks of the elite.
176
I knew at a young age that I wasn’t a
football-type, so I asked for a pony
when I was 10 and was one of the lucky
kids that actually got one!
John Garvin Weir-Voronov, or more simply, Johnny Weir is a skating phenom, as well as an author,
designer, model, recording artist, goodwill ambassador, star of his own reality TV show, and newlywed husband, having just married Victor Voronov.
Aside from his numerous accomplishments on the
ice, including being a three-time U.S. champion,
two-time Olympian, and World medalist, he has
garnered as many accolades off the ice. He has
twice won the Reader’s Choice Award for Skater of
the Year, becoming only the second skater, and first
man, to ever win the award twice. In 2010 he won
the NewNowNext Award for “Most Addictive Reality Star” for his Logo show, Be Good Johnny Weir,
which just finished wrapping season 2. He has been
a parade Grand Marshal, honored by the Human
Rights Campaign-Seattle and was the honoree at
New York City’s “Dare to be Different” Gala.
But aside from all of that, perhaps the biggest news out
of Weir-world is that he has just announced that he will
be training to head back to the Olympics in 2014 in Sochi, Russia! At the relatively advanced age (for skating)
of 28, this would be a great final feather in his fashionable
skating career cap. As Johnny’s sculpted body was being
turned into a Yayoi Kusama-inspired painting by artist
Olaf Breuning, TWELV chatted with him about everything from having an asteroid named after him, to having
a $2,000,000 bounty put on his head.
I’ll never forget, that one moment in my life. [Editor’s
note: watch that performance. He wears his emotions on
his sleeve and it’s truly an amazing thing to see.]
Congratulations on getting an asteroid named after
you! How did that happen?
It’s a minor planet, I hope to visit one day. The man who
discovered it in Russia [T. V. Kryachko] asked people
for suggestions and my Russian fans got in there and got
it done. It’s very cool to know that I have a little place
in space!
As a lover of fur, you’ve garnered the ire of some
very passionate anti-fur people. You received death
threats, right?
Right before the Vancouver Olympics, a price was put
on my head.
What was the price?
(Asking his agent, Tara) How much were they going to
kill me for? It was cheap.
Tara: For the fur? It was upwards of $2,000,000.
JW: When you open yourself up to the world by competing
in something as big as the Olympics, there are a lot of
crazy people out there! And you open yourself up to a
lot of criticism.
You are going back to the 2014 Olympics, which is
great! What do you want to do after this whole skating
thing is done?
Before you started skating you were into equitation. Well, I want to be part of fashion. There’s nothing
like the feel of Fashion Week! My line of dresses at
How did that help shape you?
Growing up in rural Pennsylvania, there were a lot of
farms. I knew at a young age that I wasn’t a football-type,
so I asked for a pony when I was 10 and was one of the
lucky kids that actually got one! He [My Blue Shadow]
was a Shetland-Arabian mix, so he was my “big little man”.
Doing the jumping and equitation, I learned young how
to get my body centered, how to be strong from my core
and to have good body control.
With all of the awards you’ve won and times you’ve
skated, what was your most triumphant moment?
The very last second of my last performance in the 2010
Olympics [Fallen Angel, to Gabriel Yared’s City of Angels].
I had a lot of opposition going into the Olympics from
within the figure skating world. I had a lot of support
from the outside world but…the figure skating agenda
didn’t really include me. I did the best I had ever done in
my whole life. I was on billions of TVs around the world,
in my costume, the best I’d ever done and that moment
of…(inhales sharply and shivers); it’s just that moment
eDressMe.com sold out, so that is a nice first step. I love
fur, so I would love to be a part of that in any way that
they would have me. I would eventually like to open a
boutique, selecting things from around the world, little
tchotchkes. I’m currently working on a draft of a children’s
book about finding your own way and believing in yourself. [Choreographer] Dorianna Sanchez and I have met,
talking about putting together a huge review/vaudeville
type of show at Radio City Music Hall in the line of the
pre-WWII German cabaret acts. And eventually I’d like
to have a Sonny & Cher-type show where anything
can happen!
Fully painted, he heads off to get photographed, wearing
only his undies, a smile, and a killer pair of 7” YSL burnished
gold heels. Standing tall and looking proud, I’m reminded of Johnny’s favorite quote, by Aleksandr Pushkin:
“Upon the brink of the wild stream/He stood, and dreamt
a mighty dream.” This stream is headed to Sochi, and
then toward whatever mighty dreams Mr. Weir may achieve
in his future. ∞
By Hunt Etheridge
Hair TAICHI SAITO. Makeup TAY RIVERA for M.A.C cosmetics. Production, casting MARBLES & MARBLES: BRENDA ARMENDARIZ.
Shorts AMERICAN APPAREL. Shoes vintage YVES SAINT LAURENT @ ALBRIGHT FASHION LIBRARY.
ODEYA RUSH
Rushing to Stardom
Photography Maria Karas Styling Hissa Igarashi
by Charlotte O’Donnell and Kathleen SharPe
With a doting father who doubles as her manager,
social savvy that belies her 15 years and a face made
for the movies (and runways alike), Odeya Rush’s
name is soon to be inscribed in the young Hollywood
A-list. After a scene-stealing performance as Joni Jerome
in The Odd Life of Timothy Green, the young thespian
has wasted no time landing leading roles in Mary
Mother of Christ with Peter O’Toole and The Locals
beside Vera Farmiga and John Turturro.
TWELV is thrilled to say we knew her when.
What was it like to get such great feedback on “The Odd Life of Timothy Green”?
I went to see the first screening with my friends at 10:40 a.m.
and I was expecting to walk in and be really embarrassed because
no one would be there—who goes to see a movie at 10:40 in the
morning on a Wednesday? But when we came in, it was so full that
people had to sit on the steps!
is, they didn’t like the plays I wrote. They wanted to do boy plays,
so I wrote, like, “The Secret Ninja”. I wanted to do musicals but
when they got older they didn’t want to sing and dance anymore,
so I had to do action plays.
Do you want to write screenplays in the future?
I definitely want to direct and write, and maybe produce.
How do you plan to get started?
I think I would start with a short film. That’s how a lot of directors
and writers start out and I think it’s a great way to start. It’s great
for the experience and I have a lot of ideas for a short.
What was it like on the set of your first feature film?
Peter [Hedges, director and writer of “The Odd Life…”] came in
so excited and so eager to work every single day, no matter what
troubles we were going through. He always wanted to talk to us
about our ideas.
Timothy Green has roots growing from his ankles, which kind of sets him
apart. Do you think there’s anything about you that sets you apart or
makes you a little odd?
Do your friends treat you differently since the movie premiered?
I’m from Israel, so I was kind of raised a little differently. My parents
My close friends treat me the same as they did the first day I met still speak Hebrew to me and we have different traditions and different
them, when they didn’t know I was in this business.
ways of life…so maybe that sets me apart? I’m not really sure
though, I can get along with anyone, really.
How did you decide you want to be an actress?
I always performed when I was younger. I have four younger If you could transform into anything at all, what would it be and why?
brothers, so I’d sit them on the steps and put shows on. Then they This is so hard! I think I’d want to be some kind of fish so I could
were in my plays and I would direct and do all the hair and the be in the ocean all the time, but I don’t want to get eaten by a
costumes and make-up, and then I’d always star in it. The thing shark. I think I’ll go with a jellyfish. ∞
Hair TAMAS TUZES @ L’Atelier. Makeup WALTER OBAL @ Atelier. This page: Jacket, blouse MOSCHINO. Right page: Coat HERMES. Earrings BARNEYS NEW YORK.
180
James
Van Der Beek
Heartthrob Reincarnated
Long after Dawson’s Creek ran dry,
James Van Der Beek memes his way back into your heart.
By Noor AL Naimi
The very talented and hilariously funny James Van Der Beek will forever be remembered for his breakout role as Dawson Leery in Dawson’s Creek, especially to the many 90s-generation fans that tuned
in each week around the globe to see what was happening in the fictional Cape Cod town of Capeside.
Since then the actor has had many notable roles including the hit feature Varsity Blues and the indie
favorite Rules of Attraction. This past year the Beek from the Creek has been inescapable: he’s teamed
up with FunnyorDie.com to create the Internet sensation jamesvandermemes.com, where the actor actually acts out a number of memes from his Dawson days. He also played the leading man in Ke$ha’s
video “Blow”, and is in the hit ABC comedy Don’t Trust the B---- in Apt 23. This, one of his most
successful roles in recent years, has him playing a “bizarre, demented” version of former teen heartthrob James Van Der Beek, as he puts it. We should also mention his supporting role in the upcoming
drama “Labor Day”, co-starring Kate Winslet and Josh Brolin, where he undertakes the more serious
role of a small town police officer on the hunt for an escaped convict. The always-entertaining and
jovial Van Der Beek took a few moments away from shooting to chat with TWELV about his current
roles, his upcoming movie “Labor Day”, working with Kate Winslet, the idea behind “James Van Der
Memes,” the joys of being a father and his goals and upcoming projects. With his slate of new performances to come, we’re certain Van Der Beek will continue to score major hits.
“My only regret is that no other
actors will ever know the joy that is
playing James Van Der Beek.”
In ABC’s new comedy “Don’t Trust the B---- in Apartment 23”, more tired, and I’ve never been happier or more playful. I can’t
you play a sort of despicable version of James Van Der Beek, the best really imagine what I was doing with my life before.
friend of Krysten Ritter’s character. How did you become involved Are there any worries that come with being a father?
I live in constant fear of having a bad hair day.
with “Don’t Trust the B---- in Apartment 23”?
Neil Patrick Harris and Mark-Paul Gosselaar were unavailable, What are some of your goals? Are there unexplored characters you
still want to play?
and—unluckily for Fred Savage—I fight dirty.
In playing yourself have you found more things to love or hate about I’ve already played myself, so it’s all downhill from here. Or is
it uphill? Either way, I’m pretty sure there are hills, twists and
being James Van Der Beek?
My only regret is that no other actors will ever know the joy
that is playing James Van Der Beek.
Series shoots can be quite hectic. What was it like on set?
If I were honest about how much fun this job was, you’d hate
me. So let me tell you that it’s hell. Everybody’s drunk all the
time. And I’m talking mean, angry drunk.
turns and hopefully a carpool lane. That’d be sweet.
What was the idea behind the “James Van Der Memes” website?
I loved what they were doing over at FunnyorDie.com , and
wanted to play. So I met with them, they pitched some stuff,
and we messed around for a few days. It was all done as a lark.
I know you probably can’t tell from this interview, but I can
sometimes be a bit of a smart-ass.
You started filming the upcoming movie “Labor Day”. How is it
Are there any upcoming projects?
working with Josh Brolin & Kate Winslet?
Talk about a mean drunk—that Kate Winslet gets downright Don’t Trust the B---- in Apt 23, Tuesdays at 9:30pm on ABC,
vindictive by the time she’s knocked back her third pre-lunch starting Oct. 23, and Labor Day, which they’re talking about
releasing on either Memorial Day, or Labor Day. Can’t rememcocktail. Just brutal.
Would you say that acting is a question of instinct and talent rather ber which. Always get those two confused...
Are you involved with any charity organization or charity work?
than something you can learn?
There’s definitely a craft to it, but I feel like the best perfor- My wife and I are very active with Baby Buggy, which provides
mances happen when all that careful preparation is forgotten support, education, and gently used, refurbished essentials to
mothers and newborns in need. I’m a particular supporter of
and you’re flying by instinct.
the crudités table at their fundraising parties. ∞
Did becoming a parent change your outlook on life?
Becoming a father has been life’s greatest gift. I’ve never been
Photography ZOEY GROSSMAN Styling LEILA BABOI
Hair LUCY HALPERIN. Makeup SAMUEL PAUL. Model laine rogova @Hollywood Model.
Production, casting MARBLES & MARBLES: BRENDA ARMENDARIZ. Shirt, tie JOHN VARVATOS.
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X
WOMAN
Photography Rony Shram Styling Hissa Igarashi
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Dress BILL BLASS.
Shoes JEAN MICHEL CAZABAT.
Necklace DAVID YURMAN.
Ring PATRICIA VON MUSULIN.
Jacket,Shirt STELLA MCCARTNEY.
On hair L’OREAL PARIS hair spray.
Left page: Jacket GIORGIO ARMANI. Shorts ALESSANDRO DELL’ACQUA . Necklace, ring, belt, PATRICIA VON MUSULIN.
Gold talon ring JOJI KOJIMA. Mask CECILIO CASTRILLO MARTINEZ. This page: Coat HERMES. Mask, leather corset CECILIO CASTRILLO MARTINEZ.
Gold talon ring JOJI KOJIMA. Gold bondage ring LOREE RODKIN. Gold and silver rings PATRICIA VON MUSULIN.
Jacket, top, skirt ROBERTO CAVALLI.
Earrings ARMENTA. Necklaces, bracelets,
gold ring PATRICIA VON MUSULIN.
Gold talon ring JOJI KOJIMA.
Gold flower ring LOREE RODKIN.
Coat ALEXANDER WANG. Gloves LACRASIA GLOVES. Gold talon ring JOJI KOJIMA. Earrings ARMENTA.
Mask CECILIO CASTRILLO MARTINEZ. On lips CHANEL lip colour. On skin CHANEL powder.
Dress VALENTINO. Corset CECILIO CASTRILLO MARTINEZ. Earrings ARMENTA. Gold talon ring JOJI KOJIMA. Shoes ROBERTO CAVALLI.
Top, skirt, belt FENDI. Armor CECILIO CASTRILLO MARTINEZ. Necklace, earrings PATRICIA VON MUSULIN.
Gold talon ring JOJI KOJIMA. Gold bondage ring LOREE RODKIN. Shoes ALBRIGHT FASHION LIBRARY.
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Coat BURBERRY PRORSUM. Corset CECILIO CASTRILLO MARTINEZ. Earrings ARMENTA. Gloves
LACRASIA GLOVES. Tights WOLFORD. Shoes LAURENCE DACADE.
Jumpsuit PACO RABANNE. Earrings ARMENTA. Necklace DAVID YURMAN. Gold flower ring LOREE RODKIN.
Coat JEAN PAUL GAULTIER. Mask, corset CASTRILLO MARTINEZ. Tights WOLFORD. Earrings ARMENTA. Man: Jacket SCREAMING MIMI’S.
Hair THANOS SAMARAS @ l’atelier nyc. Makeup AYA KOMATSU @ de facto. Model LAIS RIBEIRO @ Women Management.
Production, casting MARBLES & MARBLES: BRENDA ARMENDARIZ.
TWELV BOOKS
A SELECTION FROM TWELV MAGAZINE
RYAN MCGINLEY
WHISTLE FOR THE WIND
Contributor: CHRIS KRAUS
Publisher: Rizzoli
KISS THE PAST HELLO
Author: LARRY CLARK
Courtesy of the Artist, Luhring
Augustine, New York, and Simon
Lee Gallery, London, 2010
CINDY SHERMAN
Photographer: CINDY SHERMAN
Author: EVA RESPINI Publisher:
The Museum of Modern Art
Rianne ten Haken
La vita è bella for Donatella Versace’s favorite model.
By Kimberly Corliss
SHADES OF SUMMER
Photographer: ALEX FREUND
Publisher: Gravure Editions,
2010
In an interview with Italian Vogue, supermodel Rianne ten Haken, beaming in a camel-colored shirtdress,
rests a casual hand on her hip and explains how she rose to the top. With a light-as-champagne personality
and perfect physique, it’s no wonder that Rianne appeared on cover after magazine cover—British Vogue
and GQ, to name a couple. At 14 years old, her braces just removed, the Netherlands native was scouted at a
mall, and her philosophy for life—“live and enjoy”—led her to jump on the modeling opportunity. Rianne
chats about cherished mentors and gives TWELV her two cents about the modeling industry’s dark side.
HEDI SLIMANE (Portfolio
(teNeues Numbered))
Photographer: HEDI SLIMANE
Publisher: Stern
© RICHARD PRINCE
Courtesy Gagosian Gallery
Photography by ROBERT
MCKEEVER
COUPLES: PHOTOGRAPHS
Photographer: ART SHAY
Publisher: University of Illinois
Press
DAPHNE GUINNESS
Author: VALERIE STEELE
Courtesy of Yale University Press
What changes in your life did modeling prompt?
Regardless of the obvious lifestyle change, I think mostly it changed
me. It made me grow up really fast, because you’re always dealing
with people much older than you, and because you really have to learn
how to take care of yourself. In high school I was never the popular
girl, so when I started modeling I noticed that I had something that
other people didn’t have, and that helped me feel more confident.
In a different interview, you mentioned Marc Jacobs and Donatella Versace as
some of your close ties in the fashion world. Can you tell us more about your
relationship with those designers?
Marc Jacobs and Donatella Versace are the first two big designers
that worked with me when I was still a ‘new face.’ They decided to
put me in their show and their campaign before I had proven to anyone that I could do it. I had never done a fashion week before, and
didn’t have a decent editorial picture in my portfolio. They really
put me on the map, and have been very loyal throughout the years,
and I’m very thankful for that. I don’t know if I would be where I am
now if it wasn’t for that big push they gave me.
THE EARLY WORKS
1975-1977 Photographer:
CINDY SHERMAN
Publisher: Hatje Cantz
DIOR COUTURE
Photographer: PATRICK
DEMARCHELIER Author:
Ingrid Sischy
Publisher: Rizzoli, 2011
PAPARAZZO
EXTRAORDINAIRE
Photographer: RON GALELLA
Publisher: Hatje Cantz
NORTHERN WOMEN IN
CHANEL Photographer:
PETER FARAGO & INGELA
KLEMETZ FARAGO
Publisher: Farago Publishing
Any advice for models just starting out?
Be true to yourself. Don’t do anything you’re not comfortable with,
and trust your intuition. But most of all: enjoy every second of it! It’s
a very unique experience!
The theme of this issue is transformation. If you could transform into any
object, what would it be, and why?
An airplane; I would love to be able to fly.
196
197
If you could transform into any person, who would it be?
Rita Hayworth, because I have a major crush on her.
In the recent documentary, “Girl Model”, a 13-year-old Russian model is
sent to Japan, hoping to make money for her family, but soon returns home
traumatized and in debt. Who is to blame for the frequent employment of underaged models?
I don’t think you can point the finger at one person in this business
that is responsible for employment of underage models. There is a
lot of money to be made in this industry and therefore people forget
what’s wrong and right. I think a good agency should protect the girls
from anything like that happening. I started modeling pretty young,
but I was lucky that I come from a very well developed country and I
didn’t need to model for financial purposes. I also had a great support
system behind me that consisted of my family and my agency. They
made sure I was comfortable with it and that I wanted to do it. I don’t
think girls should be working at 13, but if they want to start working
young, or it so happens to be, it’s key that the girl feels safe, protected
and gets the right guidance.
Where do you hope to take your modeling career in the future? What’s next
for you?
My life has always been full of surprises and unexpected turns, so I
really don’t know what’s next for me yet. I hope to still be able to
continue modeling at the level that I’m at now, and I’m open to everything that is coming my way. Most important is to enjoy the ride. ∞
TWELV MUSIC
A SELECTION FROM TWELV MAGAZINE
POSITIVE FORCE, DELICATE STEVE Label: Luaka
Bop
IDLE LABOR, CRAFT SPELLS
Label: Captured Tracks
FRAGRANT WORLD,
YEASAYER Label: Secretly
Canadian
DON’T STAY ALL NIGHT,
PAPARAZZI Label: MCA
BANGA, PATTI SMITH
Label: Columbia
WITHIN AND WITHOUT,
WASHED OUT Label: Sub Pop
Records
YOUR KISS IS A WEAPON, THE
ENGINE ROOM Label: Arista
WHAT DID YOU EXPECT
FROM THE VACCINES?,
THE VACCINES Label:
Columbia
SUCHAPORN
By AARON LINDENBERG Photography MARIA KARAS
PLAY MUSIC, THIEVES LIKE
US Label: Shelflife
KITSUNÉ MAISON 14
- THE PERNOD AbSINTHE
EDITION, VARIOUS ARTISTS
Label: Kitsuné
CAROLINE NOW! : TRIBUTE TO
THE BEACH BOYS, BRIAN
WILSON AND THE BEACH
BOYS Label: Efa Imports
GOSSAMER, PASSION PIT
Label: Columbia
A popular first name in Thailand, a double take-inducing compound word, or the nascent project of four fledgling New York
musicians? Suchaporn’s jam-band bombast doesn’t lend itself to
Google searching, but they can easily be found on cramped stages
across the city, including Webster Hall’s Studio, and Yippie!! Café’s
The Space. Though known mainly for their goldilocked frontman,
model Nicola Wincenc, these little terrors have a knack for toecurling guitar lines and heavy psychedelic grooves. They’re the
insolent grandchildren of the 70s, and the kaleidoscopic dream
scene that loops behind them on stage is their family heirloom. To
fully understand Suchaporn, one must witness one of their sprawling live forays. Each song dips, turns, and morphs, sometimes to a
dizzying degree. And though no one dons bedazzled capes or Vic-
torian sleeves, their music retains the ambition of early prog-rock
– freewheeling, futuristic, and kind of nuts. Seven or so years ago,
the members of Suchaporn could be found with low-slung guitars and emo bangs. Guitarist Lucio Westmoreland played briefly
with the “kid-core” buzz trio Care Bears On Fire, and drummer
Russel Holzman was half of a Dashboard Confessional-esque duo,
Atlantic to Pacific. He now churns out caustic experimental racket
on the side. Bassist Nick Katz is a current NYU music student,
and Wincenc, a native Upper West Sider, brings a wide range of
interests to the table—beat-making, grunge, and fashion included. The quartet is a supercharged mixed bag that’s less concerned
with longevity than loudness. Most importantly, they’re content to
jam while the jamming’s good. ∞
All clothes by LINA ÖSTERMAN
Styling SAYURI MURAKAMI. Hair SHINGO SHIBATA. Makeup AKIKO SAKAMOTO @ See Management using M.A.C cosmetics.
Production, casting MARBLES & MARBLES: BRENDA ARMENDARIZ.
198
THE STREETERS
“Fashion straight off the streets of New York these trendsetters give you a glimpse of their daily attire”
The Street Snap “The Streeters” www.twelvmag.com
Photography NAOKO TAKAGI, WATARU SHIMOSATO, OMI TANAKA Editor SAYURI MURAKAMI
Andrej pejic
Model
[email protected]
HANNA SANDIN
Artist/Designer
[email protected]
CAMILLA DETERRE
Artist
[email protected]
OLGA OVCHYNNIKOVA
Model
[email protected]
BEHATI PRINSLOO
Model
[email protected]
JOHNNY SCUOTTO
Musician
[email protected]
200
GIEDRE DUKAUSKAITE
Model
[email protected]
Tre knight
Stylist
[email protected]
SARA ANNE
Model
[email protected]
LIZA THORN
Musician
[email protected]
SHEILA MÁRQUEZ
Model
[email protected]
lUCI TAFFS
Model
[email protected]
AZADEH
Fashion Designer
[email protected]
Christine & poodle po
Art Professional
[email protected]
MARIEKE STERLING
Copywriter@ CHANEL
[email protected]
201
LAIN KAY
Artist
[email protected]
aNASTASIA
Model
[email protected]
KYLE STECKER
Illustrator
[email protected]
New YORk Equestrian Center
New York Equestrian Center is a Brand New State of the Art Indoor facility with over 85 years of history. Now Open year round
with access to 775 acres of beautiful trails just minutes away from NYC. Nyec offers horse boarding, lessons by well known
international trainers, horse training, Trail riding, showing, summer and after school programs,special events and so much more.
633 EAGLE AVE WEST HEMPSTEAD NY 11552
516-486-9673
www.mynyec.com
STOCKISTS
SKULL ME BABY
Photography CHAMA Styling HISSA IGARASHI Collage artist DANI HARRIS
Hair TAICHI SAITO. Makeup KUMA, KUNIO KATAOKA. Model ANNABELLE TSABOUKAS @ Women Management.
Silver dress BLUMARINE. Black shoes CESARE PACIOTTI. Black lace dress JULIEN MACDONALD. Silver shoes JUST CAVALLI.
3.1 PHILLIP LIM 31philliplim.com
A.F. VANDEVORST afvandevorst.be
ACNE acnestudios.com
ADIDAS SLVR slvrstore.adidas.com
AGENT PROVOCATEUR agentprovocateur.com
ALBERTA FERRETTI albertaferretti.com
ALBRIGHT FASHION LIBRARY albrightnyc.com
ALEXANDER WANG alexanderwang.com
ALL SAINTS allsaints.com
AMERICAN APPAREL americanapparel.net
ANN DEMEULEMEESTER anndemeulemeester.be
ARMANI EXCHANGE armaniexchange.com
ARMENTA armentacollection.com
AZZEDINE ALAÏA alaia.fr
BALENCIAGA balenciaga.com/en_US
BARNEYS NEW YORK barneys.com
BEN-AMUN ben-amun.com
BESS NYC bess-nyc.com
BILL BLASS billblass.com
BLUMARINE blumarine.com
BOTTEGA VENETA bottegaveneta.com
BOY BY BAND OF OUTSIDERS
bandofoutsiders.com
BROOKS BROTHERS brooksbrothers.com
BURBERRY BRIT burberry.com
BURBERRY PRORSUM burberry.com
BVLGARI bulgari.com
CALVIN KLEIN calvinklein.com
CALVIN KLEIN JEANS calvinkleinjeans.com
CARTIER cartier.com
CECILIO CASTRILLO MARTINEZ
leatherdesigns.es
CHANEL chanel.com
CHRISHABANA chrishabana.com
CHRISTIAN SIRIANO christianvsiriano.com
CHROME HEARTS chromehearts.com
CLUB MONACO clubmonaco.com
CONVERSE converse.com
DANNIJO dannijo.com
DAVID YURMAN davidyurman.com
DE BEERS debeers.com
DIOR HOMME dior.com
DOLCE & GABBANA dolcegabbana.com
DR. MARTENS drmartens.com
ECLECTIC ENCORE eclecticprops.com
EQUIPMENT equipmentfr.com
FENDI fendi.com
GAP gap.com
G-STAR g-star.com
GERLAN JEANS gerlanjeans.com
GIANVITO ROSSI gianvitorossi.com
GIORGIO ARMANI armani.com
GIVENCHY givenchy.com
GUCCI gucci.com
GUESS guess.com
HAIDER ACKERMANN haiderackermann.be
HERMES hermes.com
HERVE LEGER herveleger.com
HOGAN MCLAUGHLIN hoganmclaughlin.com
H.STERN hstern.net
IRIS VAN HERPEN irisvanherpen.com
ISSEY MIYAKE isseymiyake.com
J BRAND jbrandjeans.com
J.CREW jcrew.com
JAC LANGHEIM jaclangheim.com
JEAN-CHARLES DE CASTELBAJAC
jc-de-castelbajac.com
JEAN MICHEL CAZABAT jeanmichelcazabat.com
JEAN PAUL GAULTIER jeanpaulgaultier.com
JEREMY SCOTT jeremyscott.com
JIL SANDER NAVY jilsandernavy.com
JILL GOLDEN flutternyc.com
JOHN VARVATOS johnvarvatos.com
JOJI KOJIMA jojikojima.com
JOSE DURAN joseduran.net
JULIEN MACDONALD julienmacdonald.com
JUST CAVALLI justcavalli.robertocavalli.com
KAREN WALKER karenwalker.com
KIKI DE MONTPARNASSE kikidm.com
LACRASIA GLOVES lacrasiagloves.com
LADY GREY ladygreyjewelry.com
LARUICCI laruicci.com
LAURENCE DACADE laurence-dacade.com
LEVI’S us.levi.com
LINA ÖSTERMAN linaosterman.com
LOCAL CLOTHING NYC localclothing.com
LOREE RODKIN loreerodkin.com
LOST ART jordanbetten.com
LOUIS VUITTON louisvuitton.com
MARC JACOBS marcjacobs.com
MERCURA NYC mercuranyc.com
MICHAEL KORS michaelkors.com
MIU MIU miumiu.com
MOSCHINO moschino.it
Musicians
ELLIE GOULDING elliegoulding.com
HOT CHIP hotchip.co.uk
JESSE HUGHES eaglesofdeathmetal.com
MNDR mndr.com
MOTIVE motiveband.com
SUCHAPORN facebook.com/suchapornband
THE KILLS thekills.tv
Artists
RUTH HOGBEN ruthhogben.com
DYLAN AUMAN dylanauman.4ormat.com
RYAN MCGINLEY ryanmcginley.com
ELMGREEN & DRAGSET elmgreen-dragset.com
LUIGI luigirocca.com
NICK CAVE nickcaveart.com
OKAMOTO STUDIO okamotostudionyc.com
OLAF BREUNING olafbreuning.tumblr.com
RICHARD PHILLIPS artnet.com/artists/richard-phillips
MUGLER mugler.com
MUUBAA muubaa.com
NEW BALANCE newbalance.com
NIKE nike.com
NORITAKA TATEHANA noritakatatehana.com
ONLY HEARTS onlyhearts.com
PACO RABANNE pacorabanne.com
PAUL & JOE paulandjoe.com
PATRICIA VON MUSULIN patriciavonmusulin.com
PEDRO LOURENCO pedrolourenco.com
PIERRE HARDY pierrehardy.com
PRADA prada.com
PROJECT 9 p9.ca
RAD HOURANI radhourani.com
RAFAEL CENNAMO rafaelcennamo.net
RAG & BONE rag-bone.com
RALPH LAUREN ralphlauren.com
REEM ACRA reemacra.com
R/H rh-the-label.com
ROBERTO CAVALLI robertocavalli.com
SCREAMING MIMI’S screamingmimis.com
SEA sea.vc
SEARCH & DESTROY 212.358.1120
SERGIO ROSSI sergiorossi.com
SKINGRAFT skingraftdesigns.com
SOMARTA somarta.jp
SORAPOL sorapol.co.uk
SOUTH PARADISO 323.665.5656
STELLA MCCARTNEY stellamccartney.com
STEVEN ALAN stevenalan.com
SUGAR SCOUT sugarscoutla.com
THE BLONDS theblondsnewyork.com
THE GREAT FROG thegreatfroglondon.com
THEYSKENS’ THEORY theyskenstheory.com
TITANIA INGLIS titaniainglis.com
TOPSHOP topshop.com
TRASH AND VAUDEVILLE trashandvaudeville.com
VAN CLEEF & ARPELS vancleefarpels.com
VALENTINO valentino.com
VANS vans.com
VICTOR DE SOUZA victordesouzany.com
VIKTOR & ROLF viktor-rolf.com
WHAT GOES AROUND COMES AROUND
whatgoesaroundnyc.com
WOLFORD wolford.com
WOUTERS & HENDRIX wouters-hendrix.com
Y-3 y-3store.com
ZAC POSEN zacposen.com
Special Thanks
BOYS DON’T CRY Dog’s owner JACKLYN ACKER, dog KIWI. MNDR Cat NTOES. MOTIVE owner of location COREY MAYWALT. TRANSFORMAERS
Lamborghini owner JOE GALVANO.
CORRECTIONS: Issue 1, page 74, Silver chain bracelet on the bottom of huge skull VERSANI.
207
www.snidel.com